VERROCCHIO 2.0

SURFACE VS PATTERN

ARCH10001 MODULE 2 - The University of Melbourne

This project challenged the idea surface vs pattern and seeked to blur the lines between a 2 dimensional surface and a 3 dimensional surface.

This project allowed me to explore the use of textures through the use of pyramid like shapes in order to translate the texture on the fabric sample provided onto a terrain sample. Furthermore, it took on a different lens and challenged perspective and correlation of surfaces.

It allowed me to study the respective grid and panel studies to best develop a hybrid that could later be developed into an artefact that would best represent the translation of the fabric sample onto the terrain provided.

Software Used: Adobe Illustrator, Adobe Indesign, Adobe Photoshop, RHINO 3D

DESIGN PROCESS

ANALYSING THE SAMPLES

ASSIGNED SAMPLE

The assigned sample was a section from the work ‘Madonna of the Milk’ by the renaissance artist Andrea Del Verrocchio dating from circa 1467–1469.

It is currently displayed in the National Gallery, London, United Kingdom.

I decided to frame my concept around the depth and texture of the samples, making use of the grid and panel study to distinguish vertical space, shapes, directionality as well as the idea of creases in order to emphasise the different regions and textures.

FABRIC SAMPLE ANALYSIS

The fabric sample is relatively complicated in nature with numerous intricate folds. However, it can be broken down into three main regions. The right being a dominantly high area (purple), the top left being a dominant low area (yellow) and the bottom left showing a rising crest (green arrow). Furthermore, there is a general upward flow (white dashed-line) with the fabric bunching up at the centre along the horizontal flow (blue dashed-line).

I decided to focus on the low and high areas and making use of textures to replicate the intricacies of the folds so as to establish a hierarchy between the crests and troughs.

TERRAIN SAMPLE ANALYSIS

The terrain sample is a section extracted from Tasmania, Australia.

The terrain exhibits numerous similarities to the fabric sample, particularly through it’s areas of high and low which was easily matched. The terrain sample had an upward flow and a central point was also identified where the horizontal and vertical flow met. The same curvatures, crests and troughs were observed together with the central pulling. Thus, this making a visual connection easy to be drawn from the terrain and the fabric sample.

GRID STUDY

In the grid study, my goal was to showcase the high and low regions, particularly on the bottom right of the terrain (top right in the grid study).

I varied the curve and point attractors used, shuffling the grids twice, with both curve attractors and point attractors and their variables and magnitudes to effectively direct the terrain. In GS 03,07,08 and 09, I presented the grid with few attractors to lead the grid in the general flow and depths of the painting, providing a prominent almost simple distinction between the crests and troughs.

In contrast in GS 06,10, 11 and 12, I instead imagined how the curves and points might affect the resulting grids curvature rather than replicating the painting point-blank. This created varied gradients and grid sizes and I found that GS 12.2.1 provided the best outcome in terms of depth and directionality.

PANEL STUDY

In the panel study, I wanted to highlight the contrast between the regions’ and textures’ directionality in the painting, translating it onto the terrain. In PS 03.1 I used point attractors to experiment with weight to the crests and troughs and curve attractors, in PS 04,05 and 06 to mimic the directional flow, leading the pyramids in their intended directions.

I used different types of pyramids and their orders, both sharp and dull to vary textures. Within each panel study I also experimented with different heights and forms of bounding boxes to best represent the textures and depths of the painting as shown in PS 08.2 and 10.3. Through the different iterations, I found that with PS 07.1, the pyramids best represented the texture of the surface, with it’s varying heights and sharpness of its peaks.

HYBRIDISATION STUDY

For the hybrid study, I wanted to best encapsulate the regions of high and low with stiff and dull textures. By experimenting with the different grid and panel studies, different iterations showed various cohesion with the painting sample particularly through the highlighting of the regions and textures. Hybrid study GS 12.2.1 x PS 07.1 was most cohesive in it’s varied textures and exaggerated peaks, showing depth similar to that of painting.

Furthermore, the movement and direction of the peaks mimiced the textures and intricate folds of the fabric. GS 06.2.2 x PS 10.3 and GS 03.2.2 x PS 07.1 were also especially similar in their distinctions of region. However, the selected hybrid study exhibited both the general flows as well as more detailed curvatures best, with all the textures and folds converging in the centre.

FINAL ITERATIONS

GRID STUDY

PANEL STUDY

HYBRID STUDY

FABRICATION OF THE HYBRID

THE ARTEFACT

To better align the fabric texture to the hybrid, I rotated minimal parts of the hybrid at a time as well as meticulously moving the pieces in their desired directions and curves, further enhancing the depth and creases created by the fabric on the artefact, beyond that of the pyramids themselves.

This created a flow between the pyramids, redirecting them in new ways to best fit with the fabric’s intended folds. I moved the pyramids towards each other at the centre to recreate the central pull as that of the fabric as well as away at the edges to show the different forces directing the fabric, hence showing the tension at the folds.

These renders provide a different perspective on the intricacies of the folds and pyramids, showing the directionality of the pyramids and how they interact with each other to show the depth and tension of the pulling of the fabric.

The mix of high and low peaks further allow for translation between the high and low areas on the fabric.

FINAL COMPOSITE

In order to combine the fabric and terrain sample, the 2-dimensional surface of the fabric sample has to be translated onto the 3-dimensional surface. At the same time, the sample portrays depth of curves and folds, challenging perspective and correlation of surfaces. In order to combine these two perspectives, it is key to find regions of similarity such as directionality and depth of the surfaces. The idea of creases was crucial in my analysis and execution of the translation to be able to be recreated in a real space.

As a result, I mapped the different areas of the fabric onto the artefact through various shading and stamping of textures to create a blend between the two surfaces. Hence, the painting drape was able to mimic its intricate creases and bunching to be represented in a ‘3-dimensional’ space. The gold edge did not translate well, hence the sample was left in the background and to show the seemless blend between surfaces letting the two surfaces overlap even in their own unique dimensions.