A further way of looking at our boxes was in terms of elevations, or flattened views of the sides, top, and bottom. We combined these six perspectives to create a net, and subsequently attempted to incorporate as much information from the original box into them as possible.

Each layer of detail has a different meaning, which correlates to an aspect of

the original box. For instance, the blackened lines are sections through the box, while the white are elevations. 

To represent the void at the centre of my box, formed by the spiral of the fragmenting wave, I used photography and cut out portions of the base, made of tracing paper. The dramatic contrast of black on white gives the illusion of depth and increases visual interest. 


Converting the collage into a line drawing shifted the outcome another step away from the original structure. From presenting three-dimensional information in two-dimensional tone and form, we were challenged to now represent that in line weight alone.

Some key takeaways: it is always helpful to develop a system before one starts. For instance, the dotted lines symbolise wood, while the thickest lines indicate the edges of the box. Further, while it seemed unclean to me at first, draw as many construction lines as you can and need, and follow them through to the edge of the page. Not only does this provide a scaffold for connecting interrelating pieces, but it adds a web of complexity that itself conveys information about how the piece was drawn, etc. Finally, trust in your ruler. Freehand corrections are all too obvious...