AT2 PART B FIELDWORK - GROUP WORK
Our site is situated in the eastern region of Lake Eyre North. It includes Cooper Inlet on the left and Ellis Inlet on the right. The waterway leads to Cooper Creek. Our map overall portrays the boundary of the site, the surface materiality and topography, the hydrological features and the cultural theme in Lake Eyre. We were able to select a scale of 1:30000 as our sites were in close proximity, which allows us to show a fair amount of detail.
The aims of our map therefore are firstly: to show the sort of symbiotic relationship between land and water, secondly: the complexity of Lake Eyre even just on the surface (disregarding the basin underneath) and also: that although not visible from many photos and satellite imagery, there is a great deal of diversity of flora on the land.
GROUP OUTCOME
LAYER 1 - LANDSCAPE STRUCTURES
by Qing Tan
RESEARCH
Landscape structure expresses the spatial pattern of landscape elements and the connections between the different ecosystems or landscape elements. Landscape structure assesses relationship between ecosystems as measure, number, size and shape. Most of the region consists of desert land and ephemeral lakes, including Lake Eyre itself. Streamflow, often coming from the northeast as a result of monsoonal rainfall and tropical storms, occasionally feeds these lakes and forms large floodplains.
ITERATION 1
Precisely outline the major lines for the land and water.
ITERATION 2
Added more details to show the physiography of this location but the line type of the water was not appropriate hence it seems like the lines are broken.
ITERATION 3
Increased the line weight according to their hierarchy and also changed the line type so that it has a uniform system. Continuous line is for the land and Dashed is for the water.
ITERATION 4
Changed the colour of the main outline to dark grey so that it will appear less harsh when it is combined with other layers.
Process
LAYER 2 - SURFACE ARRANGEMENT AND MATERIALITY
by Babl David
PRECEDENTS:
Jean Dubuffet Stories (Récits) from the portfolio Anarchitect (L’Anarchitecte) from Phenomena (Les Phénomènes) 1959
Sam Moyer, East Ender, 2013
ITERATION 1
I STARTED DRAWING ON AUTODESK SKETCHBOOK APPLICATION.
THE COLORS ARE LIGHT, NOT MUCH DETAILS SHOWED.
NOT MUCH BRUSHES USED.
ITERATION 2
MORE DETAILS ADDED SUCH AS THE SAND TEXTURE
I USED MORE THAN TWO TYPES OF BRUSHES AND PENCILS SUCH AS ( 2B PENCIL, 4B PENCIL, DOTTED BRUSH, SOFT AIR BRUSH, ANGULAR BRUSH AND BALL POINT BRUSH) WITH BLACK, WHITE AND GREY COLORS , AND MERGED THEM TOGETHER TO GET THIS RESULT.
ITERATION 3
MORE DETAILS WERE ADDED TO THE GROUND TEXTURE WITH SOME CONTRAST TECHNIQUE.
BRUSHES USED ON AUTODESK SKETCH BOOK
THESE ARE THE BRUSHES USED IN ITERATION 2 AND 3
PROGRESS PHOTOS
1. i started with choosing the brushes and colors.
2. i set up the main layer to draw on it.
3. i multiplied the layers together, then i have hidden the main layer and i had this result.
the application used to draw my layer is ( Autodesk SketchBook )
RESEARCH
HERE ARE MY RESEARCHES SUPPORTED WITH PHOTOS FROM GOOGLE EARTH, WITH RESOURCES BELOW.
LAYER 3 - SHADOW AND RELIEF
by Van Bach
RESEARCH
From my research, the average surface elevation of our site is 9m below sea level, and its minimum is 7m. As can be seen in these photos, our Lake Eyre region is generally flat, surrounded by dunes, sandplain with dunes and swales, and may include numerous interdune claypans. (https://nationalmap.gov.au/)
The most characteristic form of dune is longitudinal, extending parallel to the direction of the wind. Longitudinal dunes, which make a distinct y-shaped junction as the lines intertwine, are oriented west-southwest to east-northeast in the south of the region. Dune height is directly related to the transverse spacing. The distance between dunes varies widely, may be as few as 3 per km, while in some areas there may be up to 15 per km.
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ITERATION 1
In my first iteration, I changed the map to greyscale in Photoshop to make out the tone of the surface. The Black tone presents the deepest elevation, followed by Dark Grey, Light Grey.
Evaluation of Iteration 1: It is flat and not really indicate the slope and the shadow of sand dunes
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ITERATION 2
Based on the images below, the longitudinal dunes would be represented with different shades of grey tones. I defaulted that sunlight direction is from the east. This means the shadow would be cast to the left-hand side of the sand dune, and it would be gradually darken to the western areas, where the elevation is low (7m below sea level).
Site detailed images from https://location.sa.gov.au/
Evaluation of Iteration 2: Because of the digital technique, the map still could not show the relief of the topography meticulously. Need to show a more defined focus towards the sand dune in a more three-dimensional way.
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ITERATION 3
In this iteration, I tried to get back to traditional technique: hand-drawing. Below is some references for drawing topographical map.
Evaluation of Iteration 3: We can discern the topographical nature of the site by reading the shade of shadows and the boundary between light and dark:
- Light, or white spaces indicate a relatively flat surface and the face of a slope that received sunlight.
- Grey tonal gradation disclose a constant slope.
- Dark, or black shadows denote a relatively steep drop in elevation.
LAYER 4 - HYDROLOGICAL FEATURES
by Natali Kelava
PRECEDENTS
Left to right: Study of the Lower Mississippi River, charting its ebbs and flows over time, commissioned by Harold N. Fisk, 1944 / https://www.behance.net/gallery/16562179/kokomo / Ancient Meander Migration Courses along Ucayali River | by Tzu-Ting Alice Huang / ttp://structuresofcoastalresilience.org/locations/narragansett-bay-ri/ / http://structuresofcoastalresilience.org/locations/narragansett-bay-ri/
RESEARCH
I was inspired by the maps Rhys presented in the lectures that depicted the past locations and shapes of watercourses. I spent time researching the area but my attempt at finding this data was unsuccessful. I found much information about the sources of water and flow directions, however as some of these sources of water come from streams beginning in Queensland, this information couldn't be depicted on our map. From previous research, the water in our area is part of a salt lake. Due to the remoteness of the area, the connectdness of waterways and the failrly detailed scale of the map, there was very little data that would allow me to display variance in the area. Resultantly, I chose to depict the relative depths and flow of the water, salinity and waves through color, as has been captured by satellite imagery.
INSPIRATION FROM INSTAGRAM
experimentation
PROCESS - iteration 1
ITERATION 1 - raw photo of original
ITERATION 1 - original scanned on printer and background removed in photoshop
ITERATION 1 - edits in photoshop
Left to right: contrast and colour change / contrast change / change to highlights, whites, sharpness amount, detail and mask and luminence detail
Left to right: monochrome / tone and contrast change / vibrance change
BEST EDIT OF ITERATION 1 - as chosen by the group
the edit: change to vibrance
EVALUATION
THE GOOD
- The white areas are pleasing to the eye
- The lines made by the brush contributes to the flow of the water
- The different shades of blue are blended quite smoothly
- My team members were very pleased with my work
THE BAD
- There is too much texture - I was aiming for a smoother finish, particularly as the texture of the land needs to stand out
- The printer scanner seemed to over-saturate the colors of the painting
- The lines created through color don't align with Ashley's lines and the satellite image - requires better precision
PROCESS - iteration 2
ITERATION 2 - raw image of original scanned using CamScanner app on iphone
ITERATION 2 - original scanned using CamScanner app on iphone and background removed using photoshop
ITERATION 2 - edits in photoshop
left: tone, contrast, level, brightness and saturation change and offset and b/w edit, right: tone, contrast, level, brightness and saturation change and offset edit
left: tone, contrast, level and brightness change and offset edit, right: tone, contrast, level and brightness change
BEST EDIT OF ITERATION 2 - as chosen by the group
the edit: tone, level, contrast and brightness change
after compiling the layers and discussing the outcome, my group members commented that they prefer the vivid blue colors of the first iteration and so I did more edits on photoshop of iteration 2 ...
ITERATION 2 - more edits in photoshop
left: brightness change, right: contrast, brightness and saturation change and offset
THE NEW BEST EDIT OF ITERATION 2 AND THE FINAL - as chosen by the group
the edit: brightness and saturation change and offset
EVALUATION
THE GOOD
- lines created through color correspond to the flow and relative depths of the water
- less textured and more smooth than previous iteration which contributes to the layer depicting fluid water and allowing the texture of the land to stand out when all layers are compiled
- use of watercolour and better blending has allowed for a sense of flow
- the water boundaries and lines in the water correspond more closely to the lines drawn by Ashley and the satellite image, overall resulting in a neater and more precise map
- I have painted a thicker layer and used a whiter color for more shallow areas with a particularly high salinity
- my group members are happy with the result
THE BAD
- I still observe a sense of unitdiness in my work
- I was aiming to achieve a more abstract and opaque watercolor effect
- It isn't able to represent numerical data due to lack of findings through research
AN EXPLANATION OF MY LAYER
The lines in the water, created through color boundaries, reveal the flow of the water. These are similar to the shape of the lands borders which infers that the flow of water has been influenced by the land
The technique of applying a thicker watercolor layer, which is more white than blue, on the left side and the mid-top of the painting, represents shallow areas with particularly high salinity.
The white paint shows area where differing currents of water clash and create waves and bubbles.
The shades of blue depict relative depths of the waterway however this is only an estimation based on satellite and other pictorial imagery.
LAYER 5 - CULTURAL INTERPRETATION
by Kexin Zheng
iteration
Different colors could find which one have the best map legibility and performance.
research
Lake Eyre Basin is one of the world's largest internally draining river systems – its streams do not reach the sea. it is the fourth largest terminal lake in the world. Lake Eyre usually contains little or no water, as its catchment is entirely within the arid zone. The Basin contains nationally important cultural, social, natural and economic values.
reference
NATMAP produced by Geoscience Australia
© Australian Government 2002
© Australian Government 2002
https://www.ga.gov.au/dea/products
Reeves, P. (1982). Summary and recommendations. pp. 81-8 In: Foale, M.R. (ed.). The far north east of South Australia. A biological survey conducted by the Nature Conservation Society of South Australia (Inc.) 2nd-30th August, 1975. Nature Conservation Society of South Australia, Adelaide
https://www.google.co.jp/search?q=lake+eyre&ei=nsC0Xu-FKsyImAWDyaKAAw&start=0&sa=N&ved=2ahUKEwjvzJWBmaPpAhVMBKYKHYOkCDA4FBDy0wN6BAgLEC8&biw=1280&bih=610
https://www.google.co.jp/search?q=lake+eyre&ei=nsC0Xu-FKsyImAWDyaKAAw&start=0&sa=N&ved=2ahUKEwjvzJWBmaPpAhVMBKYKHYOkCDA4FBDy0wN6BAgLEC8&biw=1280&bih=610
Mabbutt, J.A. (1969). Landforms of arid Australia. Pp. 11-32 in Slatyer, R.O. and R.A. Perry (eds) Arid Lands of Australia. Australian National University Press, Canberra.
