Do your eyes deceive you? Take a look each week at 5 new images and guess whether they’re real or fake. Better yet, submit your own and you could earn some props. Try it out!
Here is a 3D architectural rendering of a bank. The image was requested for a road side contruction sign, and will be printed, and mounted, on a 24" x 36" board.
One of the most anticipated successful of all renderings is an internal frames. As with any established rendering formulas, it contains real risks of overuse, and has the making of a cliche', but these dangers are the only evidence of the fact that it does work. It simply needs a little more care and imagination when it is being applied.
The appeal of frames within frames is partly to do compositions, but a deeper level it relates to perception. Frames within the render have the effect of puling the viewer through; in other words, they are a kind of window.
On a purely graphics level, frames focus the attention of the viewer because they establish a diminishing direction from the outer render.
If the subject is oviously in motion, and its direction is plain, then the natural tendency is to have it entering the frame rather than leaving it.
Here, is an interior 3D architectural rendering have been working on. I was at church yesterday, took a photo of a QR code I had on the over-head screen (to see if it worked), and I was inspired by the lens effect I got from my smart phone's camera. I tried to reproduce the lens effect I got. I also wanted a one-point perspective, which I rarely see done. Either I nailed it, or I failed miserably, regardless, it was fun.
The most straightforward rendering environment is one single, clear subject filling your view port. Before you fill your view port, with one single image, you should consider if the surroundings are critical to the view, or its design. If you need to fill your frame right up to the border, with a single subject, you might run the risk that the eye may feel uncomfortable concentrating on points falling particularly near the edge of the render. If often needs - or at least benefits from - a little free area around a subject to be able to move without feeling constricted.
The Ames RoomThis room was devised by the artist Adelbert Ames, Jr., to show just how deceptive the geometry of three-dimensional objects can be. We think that we see a rectangular room inhabited by two abnormal people; but the room is not rectangular, and its planes - walls, floor, and ceiling - are not set at right angles to each other. It is actually a six-sided irregular construction with sloped floor, ceiling, and rear wall, inhabited by people of normal size.
Our binocular vision means that we see horizontally. Fatter frames are the most natural image format. In other words, they are the least intrusive and most accommodating to the eye. The naturalness of horizontal vision reinforces the eye's desire to scan from side to side, and a corresponding reluctance to scan up and down. There is an assumption that the bottom of the picture is a base; a level surface on which other things can rest. Most things are longer in one direction than in another, and it is natural to align the main axis of an image with the longer sides of the rectangular frame.
A square format render often suffer from lack of direction. Patters and other formless arrangements fit well into a square frame because the frame has no directional emphasis - very few renders lend themselves well to square compositos.
The question of which aspect ratios are perceived as the most comfortable is a study in its own right, but in principle, there seems to be a tendency towards longer horizontally, but less elongated for vertically composed images. The most common render is the proportions 3:2, but it does depend on the subject you are rendering.
Artist's look at the world in a different way, at least I do, and so should you. We tend to observe every thing we see, make mental notes for reference, and use what we take for guidance on our next project. Although not as good as our minds eye, here are some links to resources I sometimes use for reference, and I would like to share with you. 3D.SK
Taking your own photographs is the easiest way to get references of a subject. They're also essential if it's a subject you're not going to encounter again easily.
Take at least half-a-dozen photographs, none of which need be the perfect. You'll use these together to reconstruct the element in your mind's eye. On any given project I may use hundreds, if not thousands, of reference photos. With today's drive capacity you shouldn't have a problem building up a very robust library of custom reference photos.
When it comes to succeeding with digital drawing, passion for drawing is actually more important than computer knowhow. In fact, an artist who has a passion for drawing will master the art of drawing on the computer more quickly than a computer expert who isn't interesting in drawings. After all technology is getting more advanced, computer art programs are getting easier to use, and drawing programs are getting btter and better at mimicking the natural feel of drawing or painting.
Whenever you start a digital model, your first instinct may be to just start modeling without thinking about where you want your model to go. Trust me, you'll save yourself a lot of time and frustration if you make a quick sketch with pencil to plan your model first.
You can start a drawing using traditional tools like pencil and paper and then transfer these artworks to your computer to help you get confident with digital technology. You may be surprised to find that the results turn out even better than if you used a computer alone.
Familiar objects often look unfamiliar when you view them upside down. After all, the visual information that your left brain automatically applies to certain objects is no longer available when you look at them from a new perspective.
When your left brain can't name the various parts of a particular subject, it gets confused and eventually gives up trying to identify that subject - which is when the right brain jumps in and takes over. The right brain sees the lines of your subject differently than the left brain sees them. It focuses on the way the lines curve and how they create shapes ans spaces within the boundaries of your view-port instead of trying to classify the lines and shapes as belonging to a particular object.
No one looks at the world exactly the way you do. Keep a sketchbook with you so that you can jot down ideas for rendering the moment you have them.
Refill your creative well. When your ideas don't come to you naturally, don't try to force them; you'll only frustrate yourself. Instead of focusing on yourself, look outward at the things like books, movies, walks, the internet (I would recommend BINGS image search), and conversations with friends. You may be surprised by how spontaneous inspiration you'll find when you're not forcing it!
We architectural illustrators have a great deal in common. That's why we all get along so well. But there's something about us that may seem a little surprising. When it comes to how we deal with our clients, there are as many methods as there are illustrators. No two are the same.
Well, maybe it isn't all that surprising. A lot of us are self-employed mavericks who enjoy the independence that our career offers, so why would we want to imitate anyone else? As a result, when it comes to our business relationships with our most faithful and dedicated patrons — architects — anything goes. Maybe there should be a few guidelines?
Style
Let's start with how we work. Some of us prefer that our clients give us complete information about a project and then let us vanish until we have finished the job and presented it to wild acclaim. Others want to keep the lines of communication open constantly, avoiding any surprises at the end, pleasant or unpleasant. Some illustrators like projects in which everything has been worked out complete to the last detail. Others would rather have vague instructions — the less information the better — allowing them to create their images almost from scratch.
These opposites describe two poles in the architectural illustrator continuum. At one end, is the illustrator as supplier, selling an artistic product to a client for a price. At the other end is the illustrator as consultant, interacting with the client and providing advice for a fee according to specific needs. This is product vs process. So the first question to ask is: What does the architect-client want — a product or some advice — an illustration or an illustrator? Or a little of both? More than any other consideration, the answer to this question will provide the basis for the success or failure of the relationship.
Trust
In either case, a second element, one that is extremely important to any relationship, must also exist. That element is trust. In my discussions with other illustrators on this topic, this feature was given highest priority. Illustrators feel that each party must understand and appreciate what the other is trying to do as well as how this is to be accomplished — sympathy and accommodation.
For the architect, this means that the illustrator should be treated fairly. Comments will always be helpful ones and given at the right time. Decisions will always be made by the appropriate person. Deadlines will be honestly arrived at and reported and the effect of changes to the work will be considered. within the context of these deadlines. Some media (watercolor, e.g.) are notoriously difficult to change. Clients should understand the process and the necessary sequence of events, especially if the budget and deadline are fixed. One illustrator told me "Some architects seem to want to make changes solely as a way of maintaining control. But what's really annoying is that their changes are often good ones."
For the illustrator, the responsibilities are even greater. Hired for her expertise, the illustrator is being well paid to perform a vital (perhaps critical) function. First, she must meet her clients requirements regarding budget and deadline, but she must equal or surpass the client's expectations regarding quality of work. The illustrator should maintain portfolio samples that are appropriate to the job and represent an accurate example of current capabilities. She should be familiar with and understand, as much as possible, the architect's design philosophy and intent. As discussed above, she should appreciate the degree of involvement, camaraderie, and discussion that the architect is comfortable with. Most importantly, she should understand exactly what the illustrations are to be used for.
Function
This last requirement is the result of the illustrator's unique experience. Architecture in the twenty-first century involves the work of many, many specialists. No one architect can ever possess all the knowledge required. Illustrators are specialists in the communication of architectural ideas. If there is some particular aspect of the project that needs to be communicated in a particular way, it is the illustrator's job to know how to do that. If the architect is having trouble connecting his design intent with the design execution, it is the illustrator's job to find that connection and to help express it. If the project just needs a drop-dead gorgeous image to keep it afloat, then go to it.
OK, Money
But how can we leave the discussion without mentioning money? The illustrators that I spoke to were generally in favor of receiving more, but mostly agreed that they were currently compensated adequately. But, they all want to know: What is the deal with giving the illustrator a week to do the work and then waiting four months to pay for it? Any and all responses to this question will be gratefully entertained.
Just as we illustrators all have different ways of working, we also all have different reasons for having chosen this profession, although we would probably all agree that we do this work because we like it. We chose it — some of us even invented it — for ourselves. Architects tell me the same thing: the work is rewarding, enjoyable and meaningful. Working together, architects and illustrators can expect to accomplish a great deal. And enjoy doing it.
Almost everything has more than one value. Depending on the light source, most things have some areas that are very light and others that are quite dark.
If you look closely at a mound of dark earth, you notice that it has several different values. If a fresh layer of snow covered this mound of earth, there would still be lots of values. When you can see a range of different values you can draw your subject in the third dimension.
Squinting to see values and simple shapes
Seeing values is key to drawing in the third dimension. Many artists can visually simplify complex drawing subjects by simply squinting their eyes. Squinting helps you screen out details and see simple values and shapes. When you can see the shapes created by different values, you can draw your subject more accurately.
Wouldn't it be nice if you could simply press a button in the middle of your forehead and magically transform the world from full color to gray values? This ability would certainly make drawing a lot easier. Thankfully, simply squinting your eyes can help you develop this skill.
If your subject has, for example, light-pink and dark-red stripes, seeing two different values in the two colors is easy. You simply draw the dark red as a dark value and the pink as a light value. But, some objects have colors that seem to be the same in value. When this is the case, you simply have to rely on your own discretion to decide which colors should be drawn lighter or darker than others. If your subject has stripes of dark green and dark red, you need to pick one to be a lighter value. Otherwise, you end up drawing a solid tone instead of stripes.
If you're ready to start sharing your rendering and illustration skill with friends, family, and others (and receive feedback from them), you have many free or inexpensive options to chose from online. Many photo-sharing Web sites offer free memberships, and anyone can fill out a profile form and then upload an unlimited number of images. Depending on your preference, you can usually opt to share them privately or publicly. Here are a few good photo-sharing Web sites to try out.
Although showing your work to others can be scary, especially if doing so is new for you, it's an important and exciting part of being an artist. All the feedback you get, even the negative stuff, is helpful if you embrace it the right way. Because you know your work so thoroughly from your own point of view, other people can often point out things you may not see. You don't have to agree with everything your viewers says, but knowing what kind of response people have to your work is important to your growing as an artist.
If you'd rather create your own free Web page where you can display your work, simply type in free personal Web pages into any search engine and choose a home for your site. Most of these resources offer easy-to-follow instructions for setting up your page and getting online.
Being interested in drawing with your computer, Web sites like www.ratemydrawings.com enable you to use digital tools to create drawings online and then share them with the site's members audience. Sites like this one allow you to get feedback on your work and ind a community of art-minded people th share ideas with
If you are ready to start to grow as a digital artist, I recommend beginning with the art of others. Yep. you heard me correctly - put down your mouse and pick up your note-taking pencil.
You can discover so much about yourself as an artist by studying the works of others, and thanks to the internet, you don't have to go far to find more than enough art to study. So take some time to examine and appreciate a diverse range of art and artist.
Don't worry if you don't like everything you look at; appreciating art means finding out what it's about, not loving every piece you see.
Almost every photo has a situation in which a colored halo (usually purple, green or red) is apparent around certain elements of a scene. This sort of optic anomaly, more commonly known as color fringing, is known as chromatic aberration. We, as photo real computer illustrators, can use this effect to help us fake reality. Chromatic aberration is an optical phenomenon in which the camera lens is unable to focus the different wavelengths of light on the same plane (in this case the image sensor) in order to produce a correct image, resulting in a halo or fringe around objects.
Caution! use sparingly, it is suppose to be very subtle, if done correctly.
"S" composition, the subjects create a shape similar to the letter S. This composition formula reflects gentleness, fluidity, and gracefulness. The curve of pathways, rivers, or lines of trees works well in this composition.
