Semantics of 3D Form — Computer Mouse
3.31.20
For the second phase of this unit, I found a computer mouse in my house that I was interested in using. It fits well in the palm of my hand, and the grooves on the side make it comfortable to use.
To familiarize myself with the form, I again started by drawing the mouse from different angles like I had with the starfish. In doing this, I realized that there were a number of subtle curves and grooves that were not only challenging to draw accurately, but would also likely be hard to construct. For example, on the top face toward the front, the panels dip inward a little. I could recognize that this makes the mouse more ergonomic, but I began to think about having to abstract the form to exclude this slight detail.
Knowing that foam would be the first material I used on this mouse, I began to sketch simplified versions of the mouse to visualize the different proportions. My biggest area of concern was the side grooves, as I knew that concave surfaces would be difficult to carve, and the way this groove dipped was very nuanced. I also thought about whether I would include the small buttons on the side of the mouse should be included, as they were very subordinate.
FOAM MODEL
After sectioning off a part of the foam block, I drew an oval around the size of the mouse just to begin to cut the block down to a more manageable size and shape. As I began to cut, I realized that the height of the clock was also taller than I would want the model to be, as I was aiming to make it the same size as the actual mouse. Thus, I marked the side profile of the mouse on the side of the block.
The majority of my time was spent using the extended Olfa blade to carve away small pieces of foam to try to get closer and closer to the real form. I started from the back curve and worked my way toward the front, observing the gradual arch of the mouse and making sure the front was flatter and longer than the back portion. As I approached a shape that appeared to be a very simplified version, I marked where the top of the mouse began to curve inward from both sides so that I could be wary of the proportion as I kept cutting away. At times, I would hold the mouse against the foam model to make sure the dimensions still matched.
However, I did not realize until afterward that I’d neglected to mark where the scroll button was, although I had intended to include it. I ended up making the top of the front completely flat by accident.
After achieving the general arch of the top, I marked where the concavity occurred in the side of the mouse, and although I was unsure whether I could achieve this inward curve with either one of the Olfa or X-acto blades, I decided to try anyway. I experimented with cutting in a curved fashion, trying to direct the blade in and out of the crevice. I found this to work best when cutting very thin pieces and moving the blade upward or downward at the same time. Working slowly and gradually, I replicated the indent on one side of the mouse, and then worked in the same way to make it symmetrical on the other.
My first iteration was successful in the aspect I was most concerned about, the side grooves, but in worrying about those parts, I forgot to consider the scroll button and the two buttons on one side. Looking at the images, I also feel the back part should be more dome-like. While this first iteration is too basic, I am much more familiar with the technique and will have more confidence with the medium for the second version.
3.31.20
FOAM MODEL
Because I was dissatisfied with my first pass using the foam, I carved a second model. I approached the beginning stages in basically the same way, by shaving down a block to the general shape and height first, then shaping the back portion. However, I was careful this time to not get too carried away with the front part, and left room in the center for the scroll button. I made sure to mark the center portion before cutting it any further. Once I had made progress on the front portion, I marked off the side profile to remind myself to include the side buttons as well. I also marked a line around the middle of the form to note where the highest point of the mouse was.
Throughout the process, I continued to refer back to the real computer mouse to make sure I was accurately emulating key components, such as the inward dips on the sides and the slide upward curve of the bottom edge. Thus, my second iteration feels more complete and true to the original form .
4.1.20
FOAM MODEL
After receiving feedback on my iterations, I made some slight adjustments to the existing second model instead of recarving it. My main points of focus for improvement were on the contour of the top’s arch and the wideness of the front. Thus, I shaved off some of the highest point, as it was pointed out that the actual mouse’s arch was less intense. In the front of the mouse model, I reduced the corners to be more rounded like the reference. Additionally, I scored a line to represent where the black color on the real mouse was, as the streamlined pattern made it appear thinner. Due to the lack of color consideration in this project, scoring the line was the most efficient way to show the difference.
Final:
4.2.20
PAPER MODEL
I had learned from the starfish paper model that when using this method of construction, careful planning beforehand is crucial. I began by brainstorming a few ways to construct this mouse, keeping in mind that too many pieces would make the project more prone to error, and that the paper became flimsy when cut too thinly. However, I still wanted to capture the necessary components that characterize this mouse: The curvature on top, the dips on the side, and the rounded back. I developed a sketch of one structure I wanted to try, as it used three different planes and seemed like it would be sturdy.
After drawing out the individual pieces to better understand each form and how they would fit together, I carefully considered the most strategic places and lengths to make each cut to not compromise the strength of the paper. I then used Adobe Illustrator to plan out a template for the pieces, as I wanted to make the measurements as consistent as possible and enforce symmetry. To make the proportions as close as I could, I looked up the mouse model online and found the true dimensions, which I sometimes rounded to make planning easier based on the Illustrator grid feature. In Illustrator, I was able to quickly transfer measurements and compare each of the proposed forms to make sure they would be cohesive. After I was satisfied with the digital stencils, I printed them out and used them to cut the actual shapes out of watercolor paper.
I started the actual construction by first building the base and working my way up the layers. The one vertical arch piece is the most important, as it holds every single piece together in some way.
Initially, the model did not really resemble the mouse, as the top layer stuck out too much and was not rounded enough in the back. After adjusting it, the arch was more clear, but the top still felt too flat and bare. As an afterthought, I cut out a semicircular piece and inserted it on top to add some dimension. Throughout the model, no joint requires adhesive to stay together; however, I added a little tape in some places to make the structure stay in place.
Upon reflection, I still feel that the front view of the mouse can be further resolved, as it appears flat and doesn’t communicate curvature. However, I am happy with the side profile and the way it stands with stability.
4.3.20
PAPER MODEL
The feedback I received on my paper form was very helpful moving forward, as I have identified areas I would like to redesign. For starters, the single vertical spine down the middle of the model is not enough, and I plan to add more vertical components next to it to enhance the front and side views as well as make the horizontal planes sit straighter. The back view also does not closely resemble the actual mouse, so I plan to make vertical planes perpendicular toward the back. It was also pointed out that the bottom of the structure was not flat like the actual mouse, so to solve this I plan to have a bottom horizontal plane that has flaps with fold upward on the sides, which will also provide the extra vertical planes. Then, in front, I will have a panel which fits in at an accurate angle to help with the issue of the front appearing too flat on the previous iteration. When considering where to make the slits, I made sure to avoid any potential areas of weakness.
Brainstorming/Sketches:
When planning out the pieces on Illustrator, I started with the templates I’d used for the previous iteration, so I did not have to start over completely. To make the bottom part, I started with the general bottom shape, then included extra curves on either side that would act as the folding flaps. After drawing this one piece, I printed the template out and used the printer paper template to compare the arch to that of the actual mouse. Because I noticed the arch was too tall, I adjusted the digital plan.
Once I was satisfied with the bottom structure, I constructed the other elements based on the existing measurements, sometimes estimating when I was unsure. This step was perhaps the most time consuming, as I was trying to make the pieces as accurately planned as possible to avoid difficulties when constructing the actual model. I would sometimes hold the mouse up to the screen to compare the pieces. I then print and cut out the stencils, transferring them onto watercolor paper.
In an attempt to make accurate cuts along the way, I went piece by piece, only making the necessary cuts to fit one piece at a time. This slowed the process, but made it to I would not have to redo a whole piece at any point by cutting too deep. I ended up assembling and reassembling the model many times throughout the process, and because of the way the pieces fit together, I had to assemble them in a specific order each time. The bottom/flaps came first, then the bigger arch toward the back, and after that the smaller arch. I would then insert the middle spine from the top, and slide the flat front side on last.
HYBRID FORM
Brainstorming
