This is what I presented yesterday for our review in ARCmedia. I think I was able to draw out the effect that I had been aiming for, using the same techniques at different scales to render a more dramatic manipulation of the surface than I had gotten in the previous iteration.
With this version, I was struck by the impact of the datum lines that were established, primarily by the corner condition/edge condition (the frame) and secondarily by the grid, an extension of the defining order of the frame. By offering a datum (or data) against which the eye can compare surface manipulations, that disturbance becomes more clearly articulated. The attention, then, is drawn to where those pleats are made, and the way those moves relate to a reading of the painting. This relationship is particularly interesting, because in this case, the datum itself is disrupted by the pulling and pinching of paper.
The unmanipulated grid. You can see where I've made opposing scores and folds, which allow for the pleats to alternate in direction, the only way the material can accommodate multiple vertical pleats.
Our next task is to draw our paper models, in plan and section with only straight lines. Using line type, weight, density, orientation (etc), we are to use orthographic projection to illustrate conditions in the model (expounding again upon the relationship between making and seeing).
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