The provided painting sample from Raphael’s, The Alba Madonna (1510), was quite cluttered in terms of the folds and had contrasting regions of highlights and texture. The samples hierarchy was dominated by the blue drapery but it had juxtaposing elements of the subject’s skin towards the outer edges.
The Tasmanian terrain was mostly flat with minor dips at the edges and a slight rise in the centre. It lacked significant elements and was largely planar. Hence more focus was given to panel distribution and grid alteration. This lead to the exploration of using depth to convey texture.

The final iterations are the result of several trials of the grid, panel and hybrid studies. For the grid study I was trying to create high and low points as well as a flow in the right direction that correlated with the sample drapery. The panel study explored how panels flowed from one geometry to another and if their geometries could accentuate the darker regions. This study was essentially a breakdown of the three regions: the drapery, the receded material and the skin. The final hybrid study refined a combination of the most effective grid and panel studies and utilised the best curve attractors to fabricate the contrasting regions. Lastly the artefact involved manipulating the hybrid into a reinterpreted shape for the painting sample to conform to. The artefact was changed significantly from the hybrid with dramatic directional shifts and changes to panel depth and rotation.

The fabrication process was interesting to see how the panels deconstructed to a flat planar surface and if they were developable. During the unrolling of the hybrid, it was important to use the least amount of sheets possible. This is a good practice to have and is beneficial, especially in building design, where cost and material are important aspects to consider.