This image shows the three dowel points.

For my final orthographic shoe drawing, I chose to slice the image into a cardboard stack, in a top to bottom orientation. I used three quarter inch round dowel rods and cut them into dowel pins to glue my cardboard stacks together. The purpose of utilizing dowel pins for my orthographic shoe cardboard cutout was to ensure each cardboard cutout aligned correctly on top of one another. Dowels have been around for many of years and are mentioned in the Bible. Dowels are designed as structural reinforcements and are mainly used as supports to hold levels of objects or materials together. In my orthographic shoe cardboard design stack, three dowels were conceived. One dowel was placed at the toe, another at the beginning of the opening of the shoe, and a third one at the end of the opening of the shoe. This was to ensure proper construction and stability of the cardboard cutouts. For improvement, I would alter the AutoDesk Fusion 360 rendering of the object in order for it to have more shoe-like shape. The corrugated cardboard design final turned out great, although it would be even better if I created a left and right shape of a shoe and a collar and quarter from the shoe. The collar and quarter being the space where you insert your foot into.

Part I | Concept.  To start my concept, I chose a reference object to develop orthogonal reference planes.  The reference object, a sneaker, was to be asymmetrical, contain volume, be scalable, and capable of putting tape and Sharpie markings on the object for measurement.  For my concept, I decided to sketch one of my many pairs of sneakers.  I didn’t want to take the chance of putting Sharpie marks on a new pair, therefore I chose an old pair of Nike running shoes that I don’t care much about.  The specific Nike model to be used as my reference object was the Nike Air Max Typha Flywire Training Shoe in US 10.5.  The type of work I was planning to complete is similar to aircraft and boat lofting.  To begin the lofting technique, a drafting technique where curved lines are generated, I used blue masking tape to dissect a datum point on the sneaker from heel to toe, going around the entire sneaker.  Next I took a ruler and measured inch by inch from the tongue to the toe, marking the inches on the blue masking tape in Sharpie pen.  I did this going from the back of the collar of the sneaker down to the bottom of the heel and through the bottom of the outsole.

Part II | Iteration.  I first came up with a drawing plan on 11×17 four-square-inch graph & layout paper of the sneaker.  The tools I used were a pencil, an eraser, scissors, a Sharpie, a ruler, and blue masking tape.  I used a piece of cardboard to line up against the back of the sneaker to acquire my datum point for the back view.  I did the same with the piece of cardboard to the front of the sneaker and marked my datum point in pencil.  Following, I used a ruler and held it up from the back of the shoe’s datum point to the front datum point, diagonally straight across and marked off the inches in Sharpie on the blue masking tape, taped to the sneaker.  The datum points I used for the heel and front of the sneaker joined to form the center line of the sneaker.  Using the ruler, I plotted points in pencil around the sneaker matching up where the inches on the blue masking tape are positioned and connected them using pencil to create the outline of the shoe from a top view.   This completed my sketch of the sneaker from the top view.  Moving to the side view, I similarly used the ruler to project down to plot the points and connect the dots.

Part III | Final.   For my final, I scanned my sneaker sketches using the flatbed scanner in the MakerSpace and created two jpg files, one of a top view and one of a side view of the sneaker.  Next, I opened my sneaker orthographic views in Autodesk Fusion 360 to view them as reference planes.  I created a rectangular shape form around the reference plane images to get to work.  I clicked on symmetry, mirror internal, and selected two faces to create an axis of symmetry based on the two faces.  Next I selected faces in the front of the object to create my toe selection set.  I then positioned the toe faces using the modify function for a taper style look.  Next I used a soft modification to smooth out the edges of the object.  To profile the side of the orthographic object, I selected the toe faces and soft modification to taper the object down to size.  Next I selected rings on the scale to drag the object down to the base to eliminate the large space that happened when tapering the toe faces in the process before.  I tweaked the soft modifications more to create the sneaker object.  I created a Slicer image of two sheets of 11×19 corrugated cardboard.  In Autodesk Fusion 360, I selected Tools at the top of Fusion 360, Make, and Slicer for Fusion 360.  Once in Slicer for Fusion 360, I edited the slice direction to go from top to bottom and made three dowels on the object to have a .250 diameter for each.  Lastly I clicked Get Plans to create my sheets and saved them as a .pdf to my computer.  I still wasn’t done with my plans, so I used Adobe Illustrator to refine the layout some more for laser cutting.  The laser cutting went very well and I did not have any issues with the machine.  Finally I took my cardboard cutouts and glued them together to get my finished orthographic sneaker.

Cromar, W. (2020). Linetoplanetopologicaltransformations. Retrieved March 28, 2021, from http://newmediawiki.pbworks.com/w/page/127314248/lineToPlaneTopologicalTransformations

2.2.1 Nine Square Grid.  For this exercise, I learned to create an objects form and volume by creating 3-dimensional shapes in Adobe Illustrator and Autodesk 360. Analogous means “structures performing a similar function but having a different evolutionary origin” (Google dictionary).

Cromar, William. “LineToPlaneLogoEtch.” NewMediaWiki [Licensed for Non-Commercial Use Only] / LineToPlaneLogoEtch, 2020, newmediawiki.pbworks.com/w/page/134851686/lineToPlaneLogoEtch.

Cromar, William. “LineToPlaneNineSquareGrid.” NewMediaWiki [Licensed for Non-Commercial Use Only] / LineToPlaneNineSquareGrid, 2020, newmediawiki.pbworks.com/w/page/134851311/lineToPlaneNineSquareGrid.

Cromar, William. “LineToPlaneSculptAndSlice.” NewMediaWiki [Licensed for Non-Commercial Use Only] / LineToPlaneSculptAndSlice, 2020, newmediawiki.pbworks.com/w/page/134851341/lineToPlaneSculptAndSlice.

The basis of Chapter 5, Visual Elements II: Volume, is how mass-void objects are created using enough planes together.  Volume is a plane with depth.  A plane can be folded, twisted, bent, and closed to become a volume.  Volumes can define Mass, a body occupying space, or Void, space defined by adjacent masses or planes.  Volumes can contain coordinate systems referred to as UVW coordinates, known as the local system.  The UVW coordinates are compared to the XYZ coordinates in the Cartesian system.  A Mass is the quality of presence.  A Void is the absence of presence.  Both Mass and Void do not equal one another, even if they are equal in size.  Relief and Freestanding sculptures.  Relief artwork is sculpture that you look at face front and has a solid background whose work is done with the same element as the background.  Relief artwork has three classifications, Sunken Relief, Bas Relief, Bas is French for ‘low’, and High Relief.  Sunken Relief work is sculpture where the artist carves and incises into the stone or element.  A unique characteristic of Sunken Relief sculpture is the way light hits the surface a certain way and creates shadows.  Bas Relief artwork is depicted as flat carvings into a surface that contain shallow depths within the sculpture.  High Relief sculpture is known for its detailed components that extend high and protrusive from the base element.  Freestanding sculpture is intended for the viewer to observe the artwork from all sides, 360 degrees around.  Installation 3D artwork:  Installation 3D artwork is very unique and interesting.  It increases the void and openness, and the object wraps itself around the audience.

The concept of Chapter 8, Visual Principles, is to decipher Economy and Pattern visual principles.  Economy specifies leaving an element out of your artwork and having the piece still work.  Pattern is when a rhythm or progression of objects occurs creating a pattern or repetition.

The purpose of Chapter 13, Metaphors to Drawing, is to bring in the history of artwork and how the artwork is projected onto a surface.  Two major concepts of projection are parallel (orthography) and centric (perspective) projection.  Something I found interesting was Leon Battista Alberti’s perspective window.  It added a grid to a picture plane and allowed visual information to paper.  Orthographic projection is representing three-dimensional objects.

Hidden Geometry.  A datum is a point of reference and basis for measure.  Usually, an orthographic projection consists of three two-dimensional drawings, a top view, side view, and front view.

Cromar, William. “CHAPTER 5 – Visual Elements II: Volume.” ParallelUniverses   [Licensed for Non-Commercial Use Only] / CHAPTER 5 – Visual Elements II:     Volume, 2020, newmediaabington.pbworks.com/w/page/67298603/CHAPTER%205%20%E2%80%94%20Visual%20Elements%20II%3A%20Volume.

Cromar, William. “CHAPTER 8 – Visual Principles.” ParallelUniverses [Licensed for Non-Commercial Use Only] / CHAPTER 8 – Visual Principles, 2020, newmediaabington.pbworks.com/w/page/67298657/CHAPTER%208%20%E2%80%94%20Visual%20Principles.

Cromar, William. “CHAPTER 13 – Metaphors to Drawing.” ParallelUniverses [Licensed    for Non-Commercial Use Only] / CHAPTER 13 – Metaphors to Drawing, 2020,             newmediaabington.pbworks.com/w/page/67304576/CHAPTER%2013%20%E2%           80%94%20Metaphors%20to%20Drawing.

Cromar, William. “LineToPlaneHiddenGeometry.” NewMediaWiki [Licensed for Non-Commercial Use Only] / LineToPlaneHiddenGeometry, 2020, newmediawiki.pbworks.com/w/page/127199453/lineToPlaneHiddenGeometry.