EVAN GARVEY
THE BIG E
TASHTEGO
CAMBRIDGE "I VOTED"
ENTENDRE MAGAZINE
CREATIVE DESIGN TEE
WHAT'S THE WORD?
NOTALOT
REDBILL
SURF SQUIBBY
SAYAWINI LASSITER
CAMBRIDGE LIBRARY STICKERS
DREAMVILLE CAMPAIGN
ATHLETE DESIGNS
Portfolio from my first drawing studio, Fall 2025.
Twin Peaks: Mt. Fitz Roy
1.
TRACING STRUCTURE
2.
RECONSTRUCTING FORM
3.
CONNECTING CONTEXT
Part 1. TRACING STRUCTURE
Geometric drawings reconstruct Mt. Fitz Roy through underlying rules, using projections and point logic to establish its core structure, determining all following work.
Original traced elevation photo.
Geometric Logic Drawing
A traced logic diagram where each point determines the next, with lettered steps outlining the exact construction sequence.
A traced logic diagram where each point determines the next, with lettered steps outlining the exact construction sequence.
1/2 Plan Ridge Line Translation Drawing
Formed by skewing the elevation’s ridge line along an angled line and translating all related points into a half-plan.
Formed by skewing the elevation’s ridge line along an angled line and translating all related points into a half-plan.
Reconstructed Elevation Drawing
An elevation rebuilt from the geometric rules outlined above.
An elevation rebuilt from the geometric rules outlined above.
Extended Plan Drawing
The "twin" peak is estimated by mirroring the first peak’s logic, using its curved cliffs and plateaus to fill the rest.
The "twin" peak is estimated by mirroring the first peak’s logic, using its curved cliffs and plateaus to fill the rest.
Contour Plan Drawing
A freehand projection that introduces imperfection and randomness into the previously strict, logic-based construction.
A freehand projection that introduces imperfection and randomness into the previously strict, logic-based construction.
Shaded Contour Drawing
Shading develops the contour study, reading depth into the terrain.
Shading develops the contour study, reading depth into the terrain.
Plan Oblique Axonometric Drawings of the Peak & Twin
Each point of the plan translated upward using the corresponding elevation distance.
Each point of the plan translated upward using the corresponding elevation distance.
Shaded Elevation Drawing
An shaded elevation of the twin peak constructed through previous diagrams.
An shaded elevation of the twin peak constructed through previous diagrams.
Contour Model
A physical model built by cutting each contour line from foam to translate the drawing’s surface into stepped terrain. The layers stack to construct the terrain and shadows emphasize the primary ridge line.
A physical model built by cutting each contour line from foam to translate the drawing’s surface into stepped terrain. The layers stack to construct the terrain and shadows emphasize the primary ridge line.
Part 2. RECONSTRUCTING FORM
An alphabet of primary forms derived from Section 1 is digitalized and transformed through extrusion, sweep, gravity, and section -- generating reconstructions of the peaks.
Forms Alphabet
Eight 3x3" moments chosen from previous drawings.
Eight 3x3" moments chosen from previous drawings.
Wireframe Construction
The alphabet is extruded into a spatial composition that highlights the two primary peaks and their defining cliffs.
The alphabet is extruded into a spatial composition that highlights the two primary peaks and their defining cliffs.
Wireframe Unrolled Surface Drawing
The peak’s wireframe is unrolled to reveal its individual surfaces and underlying construction.
The peak’s wireframe is unrolled to reveal its individual surfaces and underlying construction.
Suspended Paperclip Model
The wireframe is rebuilt with hanging paperclips, letting gravity define a new logic. When mirrored, the composition becomes more legible.
The wireframe is rebuilt with hanging paperclips, letting gravity define a new logic. When mirrored, the composition becomes more legible.
Reinterpreted Contour Plan Drawing
Contours are redrawn from the wireframe model, showing how the logical plan is reinterpreted through extrusion and gravity.
Contours are redrawn from the wireframe model, showing how the logical plan is reinterpreted through extrusion and gravity.
Swept Model Contour Drawings
The alphabet is swept from one primary peak through both plans and into the other. The contour outlines reveal the flow and complexity of the form.
The alphabet is swept from one primary peak through both plans and into the other. The contour outlines reveal the flow and complexity of the form.
3D Printed Morphing Peaks
The peaks act as the primary structure that upholds the model. They morph into each other in the middle, creating a continuous blended form.
The peaks act as the primary structure that upholds the model. They morph into each other in the middle, creating a continuous blended form.
Intersected Peak Sections
A third model intersects the primary peaks with the full plan. The sections show how the form shifts across the object.
A third model intersects the primary peaks with the full plan. The sections show how the form shifts across the object.
Interlocking Egg-Crate Model
The sections are jigged and laser-cut to assemble the egg-crate model.
The sections are jigged and laser-cut to assemble the egg-crate model.
Egg-Crate Intersection Assembly Drawing
Isolating each intersection component: the primary peaks and plan; to reveal the forms that generate the model.
Isolating each intersection component: the primary peaks and plan; to reveal the forms that generate the model.
Part 3. CONNECTING CONTEXT
Mt. Fitz Roy, of Patagonia’s logo, is explored in context to the brand. How can decorating each previous model communicate brand values into the forms?
Experimenting with texture.
Morphing Peaks Model Rendered with Material Translation
The 3D model is textured and placed on a Patagonia jacket to place the form in the brand context.
The 3D model is textured and placed on a Patagonia jacket to place the form in the brand context.
Painted Morphing Peaks Model
The spray-painted model sits within a field of shifting lines, creating an ambiguous, merging form. The lines infer and intensify the transformation, recalling topography.
The spray-painted model sits within a field of shifting lines, creating an ambiguous, merging form. The lines infer and intensify the transformation, recalling topography.
Sheltering Peak Collage
The paperclip model is inserted into an existing painting. It blends with the landscape and sheltering the lone adventurer, alike Patagonia’s spirit.
The paperclip model is inserted into an existing painting. It blends with the landscape and sheltering the lone adventurer, alike Patagonia’s spirit.
Camouflaged Peak Collage
The model is wrapped in a marbled texture. Camouflaged without the wireframe, it reflects Patagonia’s aim to inhabit without overpowering.
The model is wrapped in a marbled texture. Camouflaged without the wireframe, it reflects Patagonia’s aim to inhabit without overpowering.
Embedded Egg-Crate Model
Placed on a Nolli-style map of Fitz Roy’s topography, the model is punctuated with white inserts. They could suggest windows, snow, or exaggerated cliff edges, as the structure emerges from the terrain.
Placed on a Nolli-style map of Fitz Roy’s topography, the model is punctuated with white inserts. They could suggest windows, snow, or exaggerated cliff edges, as the structure emerges from the terrain.
