Location Surveying & Technical Drawing

With the 6 pages of measurements [taken the previous week] to hand and experience with Architecture, Maths and Fine Art - I was really looking forward to creating the final A1 drawing accumulating all of the recordings on the one sheet. I had never done section work with such elaborate rules in regards to text, line-work and texture so it was all quite daunting at first, but it definitely got easier as time went on.

Note: The ceiling plan was not needed for this specific task.

Above: 6 sheets of rough technical drawings, including a very simple overview of the plan dimensions.

Throughout the past few days, I worked very closely with the given handouts and other online resources [including David Neats' Wordpress site]; constantly referring to any possible instruction/hint I could find. I wanted to make sure my first set-design technical drawing agreed with the established conventions [to the best of my ability!].

Below I have included a gallery of the process form start to finish - including corrections/additions made after feedback from Kerry. Everything I learnt has been documented in my workbook step-by-step in much further detail.

Gallery of the process from start to finish.

On Monday, I'll be scanning in this A1 sheet of tracing paper to manipulate and embellish it in photoshop. I've already spoken to the print room technician and he's emailed me a guide on how to format the scan correctly for printing. From here, a white-card model will begin to take shape.

In preparation for the model-making weeks to come, I've begun reading David Neats' ‘Model-making: Materials and Methods’. So far this has entailed a broad discussion of the purpose of model-making and, more specifically, its use in film production.

Often, white card models are the end result; used to translate the space [in the correct scale, taken directly from the technical drawing] to the director, cinematographer and the general crew. In this project however, we will be going on to create the entire atmosphere for use later on in the green-screen stage - creating the illusion that this is the final set rather than just the miniature.

An important point that Neat made in this first Introduction chapter, is that time management is the most important asset; to spend the propionate amount of time on one element of the model in relation to its importance within the whole. Problem-solving skills, labour-saving methods and the correct tools will prove to be vital in completing a model within a time limit.

Initial Notes from Chapter 2: Construction

- Mechanical Pencil [2H]

- Become accustomed to the slight inaccuracy when drawing along a metal edge of a ruler.

- Create pencil hatch lines on the side of a line that won't be used in order to avoid confusion between multiple shapes drawn on one sheet.

- Glue of Preference: PVA ! Doesn't leave any residue, easy to manage/correct.

- Use double-sided tape for bonding large flat areas.

- Mount-board and Foam-board needed.

- Produce rough sketches of everything being constructed within the model before creating it.

From here, I will make the necessary references to the book as the model develops.

My plan for next week is to continue the relevant research in order to refine my transformed location. Hopefully, the entire design will be ready in time for creating the colour model.