Average laymen, including many actively enaged in construction and development, find it extremely difficult to visualize the project from bulky plans, elevations, details, diagram, and other specifications included in a set of working drawings. Your knack for translating them into attractive three-dimensional form will be a major reason for others to employ your services
I have just completed the digital-tutors video series call, "Introduction in 3ds Max 2012" 5 hrs. 11 min. | 10/03/2011 | 3ds Max 2012 | Author: Joshua Kinney
In this collection of lessons we will learn about the different modeling techniques available in 3ds Max 2012 to create a future concept bike. In this series of lessons we'll be discussing some the introductory methods for modeling in 3ds Max 2012 and you should begin to develop techniques that will complement your own style of modeling. Through out these lessons, we will learn a variety of different modeling methods, such as spline modeling that will allow you to easily model irregular objects with ease. Then we'll learn how to use primitive geometry to build some of the more complex objects of our concept bike. We'll also be introduced to several of the common tools used for modeling in 3ds Max. Finally, we'll learn how to create some basic materials for our bike to create some really stunning 3d renders. By the end of this course, you should have a solid grasp of the different modeling techniques and begin coming up with a modeling style that works best for you
Major commercial and residential complexes, highway and airport projects, resort areas, transit systems, and municipal improvements developed with aid the of 3D renderings affect the living and working habits of an entire city or state. As an artist, we must use our head as well as our hand in our concept and visualization. We must be able to work closely with others, grasp ideas quickly, and proceed much of the time by our own judgement.
I have picked up, and put on my to-read list, "101 Things I learned in Architecture School", by Matthew Frederick.
This is a book that students of architecture will want to keep in the studio and in their backpacks. It is also a book they may want to keep out of view of their professors, for it expresses in clear and simple language things that tend to be murky and abstruse in the classroom. These 101 concise lessons in design, drawing, the creative process, and presentation—from the basics of "How to Draw a Line" to the complexities of color theory—provide a much-needed primer in architectural literacy, making concrete what too often is left nebulous or open-ended in the architecture curriculum
Knowledge of construction and better than average design ability are frequently required for architectural rendering art. As often as not, the artist finds himself working more with ideas and sketchy reference material than with the detailed plans provided for other forms of architectural illustrations. He must be prepared to invest and improvise when necessary wthout straining the credibility of the subject.
To decide whether a painter is visual narrative, you should ask yourself three questions:
- Does the artwork suggest the passage of time (as opposed to being static, like a still life)?
- Does it seem to have a beginning and an end?
- Does it hint at something that happened outside of the picture frame?
If the answer to any of these questions is "yes," then the artist is probably telling a story.
How do you read these stories? To read a narrative painting, you don't necessarily start to the left and move toward the right the way you read a book. Instead you begin at the focal point {the place where the artist leads your eye). The focal point may be the beginning of the story - but it can also be The climax.