Contemporary requiremnets of the building industry call for many types of drawings. A final presentation drawing may have been proceded by dozens of quick sketches that are never seen by the public. Many renderings are for communication use only rather than for display or publication. Other are concerned with telling stories directly and simple suggestion, through quick sketches rather than by painstaking detailing.
In an age of specialization, it is unlikely that any single artist could be proficient in all the wide variety of subjects and techniques included in the field of architectural illustration.
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All of us are born with a certain degree of drawing ability. In some cases, talent is pronounced early enough to surface and be recognized at an early age. It's possessors, with proper training, progress naturally and easily into architectural illustration or some other form of art. Some illustrators may not realize their potential. They have to be shown how to visualize objects as simplified three-dimensional forms. They must discipline themselves to observe certain rules of composition, perspective, and technique. With practice, persistence, and constructive criticism, they can soon learn how to produce creditable architectural renderings.
Registration is recommended for a number of reasons. Many choose to register their works because they wish to have the facts of their copyright on the public record and have a certificate of registration.
Registered works may be eligible for statutory damages and attorney's fees in successful litigation. Finally, if registration occurs within 5 years of publication, it is considered prima facie evidence in a court of law.
Here is an image, on the board, of a daycare. The architect is proposing to bring a historic building back to life, and convert it into a daycare.
Working with clients is one of the most difficult parts of being a architectural illustrator.
It is a challenge which we face each and every day, regardless of whether we work in-house, as freelancers, or as agency owners.
Some clients are great, while others leave us tearing our hair our and wondering why we felt the need to subject ourselves to this line of work.
While some problems with clients can be put down to poor communication by both parties, many times we can identify clients which are going to be difficult before we even start working with them.
You can read the article here
Legal title doesn't refer to the name of a rendering but rather who owns it. Say a client sees your 3D rendering portfolio, falls in love with your work and commissions you for a $1500.00 rendering, and gives you a deposit on the spot (with cash, no less). The second she gives you the money, your client become the owner and title "passes" from you to her-that is, if she pays you the full $1500.00.
In the real world, of course, few people pay right away. And if you're partially paid (deposit) she gives you $750.00 now and plans to pay you another $750.00 in a month - you only keep title to the rendering for as long as you actually hold on to it (that is, keep it on your server or wherever). By letting your client take the rendering, you're giving her title to it - even though she hasn't fully paid you! She still owes you $750.00, but you don't own the rendering anymore.
It is easy (and lawful) to get around this default title rule. All you have to do is state on your invoice:
Ttitle will not pass until payment is received in full or Paid in full upon completion.
This makes it clear that you are not letting your client become the owner of the rendering - even if she's already received the file - until she's paid for it in full.
Another straightforward way to prevent title passing before you're fully paid is to keep the rendering, or watermark it, until you're fully paid.
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.
