Atmosphere - Pink Mud

Mood or atmosphere is the icing on the rendering cake. When used with thought, it can completely transform a scene and can inject a sense of power and drama at the same time. You can use atmosphere to enhance a "normal" rendering into one conveying power and beauty of nature's finest moods. We can use it to lose unwanted detail, or suggest mystery, impending doom, a light, airy afternoon, tranquil moments, and much more.

Mood can be especially effective in highlighting a center of interest or suggesting a narrative. Try to get out of the habit of always rendering fields green, clouds white, or mud brown - flood the whole composition with a color mood to suit your idea, even if it conflicts with color we normally assume to be correct. Those who fail to see pink mud are truly restricting their imaginative palette.

atmosphere and mood

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A Blend of Color Temperature

​A full cloud cover brings together the color of the sun (white, 5200k) and that of the blue sky (about 8000k to 10,000k), merging them into a color temperature that is slightly higher than the sunlight alone. The amount of blending depends on the cloud cover, but a general rule of thumb is 6000k.

Proportions

When you have a structure, that isn't characteristic, it's essential to add something that gives your rendering scale. People are one of the advisable things to bring to your composition. Not only do people add liveliness, they contribute scale. Be mindful! You can be slightly off with your scale, and you will through your viewer off. 

A acceptable architectural figure is six feet tall, give or take a sensible variance for sex, age, or ethnic differences. The average body is proportioned to a height of eight head lengths. Legs are four head lengths, shoulder width is two lengths, and hip width one and half head lengths.

Children's heads are slightly larger in proportion to their bodies.

From proper proportions, the figure can be laid out as a series of simplified shapes. I apply my people in post-production so; I use boxes in my scene, to symbolize these proportions.

Architectural Vignettes

Architectural Vignettes show only a detail or a portion of a structure rather than en entire subject. Unfinished edges and free forms of composition are distinctive features.

They are used widely in advertising to stress a particular selling point of a building, and editorial stories to emphasize important features of design function.

In architectural offices, vignettes illustrate key areas of a structure. During preliminary planning stages, they can indicate a direction of design without the necessity of delineating the entire subject.

Architectural Vignettes

Paper is Flat

The essence of paper is flat, a dimensional plane. When possible, put your light source in a spot that helps accentuate the big plane changes of your model. This often means placing the light a little off to the side of the model. Angle the light source so either the light or the shadow shapes dominate your design. A 3-to-1 ratio is usually a safe bet.

Atmospheric Perspective

Atmospheric perspective. Often referred to as aerial perspective, atmospheric perspective references the compounded effect that air and light have on objects as they recede. As the reflective light off the object filters its way through the intervening air to the viewer’s eyes (referred to as the line of sight), the contrast between the object and its surroundings diminish, detail decreases, color saturation (chroma) weakens and shifts towards the skylight color, which is generally blue unless it is sunrise or sunset.

Point and Click (render)

Pulling a camera view and hitting render is much like picking up a point-and-shoot camera and clicking away. Many renderings I'm seeing have exceedingly little that is artistically pleasing. The renderings provide raw information that does not take into account the concept of aesthetics. An artist, working digitally, can manipulate the viewer's eye by leading it through the composition to a specific focal point. The lightest part in an architectural scene is the part that is perpendicular to the light source, and the closer the parts are to the light source, the brighter they will be. You can take some artistic liberties and pitch planes toward and away from light to create drama.

Search out the Composition

Sometimes ideas for composition just come to you, fully formed. Other times you have to build them from scratch. In both cases, you still need to play with the idea to develop it. Once you start to render, there many other things to work out that you may not notice serious compositional flaws. Once you have committed a lot of effort to developing a view, you may be reluctant to make changes.

If ten people set up to render the same thing you'll get ten different renders People see from different points of view, both literally and figuratively. Everyone has cliched ways of looking at things. Breaking those habits and taking a fresh viewpoint is vital to the artistic process. You know the experience of seeing something familiar as if for the first time; it seems alive and exciting. That's the way you want to try to see things before you render.

Rhythm in your Rendering

If any interval, or rhythm, in your rendering, becomes too repetitious or systematic, it feels lifeless and unnatural. This remains a typical problem that afflicts beginners, but it happens to me all the time. In art, the principle of line rhythm is essential in creating a hierarchy of information that feels comfortable and natural for your viewer to interpret. Without variety, your rendering can become wallpaper fading into the background of our attention. Like an endless row of fence post, we cease to notice or pay attention.

Too much variation is incredibly disruptive, Each decision you make when putting information into your model has visual implications. Not enough unity and you have confusion. Too much unity and you are bored.

Sunshine Adds Pizzazz

Sunshine adds pizzazz to your rendering and makes life seem more charismatic. The human eye sees in three dimensions and can compensate for poor lighting.  A rendering is only two-dimensional; therefore, to make an impression of form, depth, and texture to the subject, you should ideally have the light come from the side or at least at an angle.