Here, I'll post things that I think you'll enjoy. Most of my posts will be about architectural illustrations, 3D renderings, new software, and anything else cool.
While the overall appearance of a building can oftentimes be fascinating on its own, many buildings have small designs details that can stick out. Just think of all the smaller characters of an old church or cathedral, for example, such as sculptured gargoyles and angels etc. Taking renders of smaller details can communicate a lot about the character and type of architecture.
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Temperature refers to the relative warmth or coolness of a color. We generally categorize reds, yellows and oranges as warm colors, and blues, greens and violets as cool ones, but it is possible to have cool reds (tending towards blue) and warm greens (tending towards yellow). It's all a matter of comparison.
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Balance is the even distribution of visual weight from left to right on the picture plane. This principle seems simple enough, but it's often over looked.
Symmetrical balance refers to work that is centered, and matched item for item, left to right. Superficially, it is the easiest to achieve. While it can be done effectively and elegantly, the trick is to avoid being predictable and stiff.
Asymmetrical balance is by far the common form used in renderings. It requires an off-center focal point, with enough interest or visual weight on the opposing side to keep the work appearing equally balanced. Because it relies on an uneven division of space, it is more suggestive of movement and, in most cases, is more interesting to the eye. Whether the shape, colors and textures employed keep the weight scale even is determined by how visually heavy the objects appear to be. The more they contrast with their background, the more weight they seem to have: bright versus neutral, dark versus light, and so on. There are an infinite number of variables. Even "dead" space in which nothing is happening can have weight.
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Several of my subscribers commented on the stainless steel V-Ray material I used in my Chicago Apartment rendering. Well, I am glad you guys liked it, and as promised, here are my settings, along with an Autodesk® 3ds Max® Design file.
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While every rendering needs quiet space for the eye to rest, to much "dead" space in any direction is, well, deadly. Examine your rendering in quadrants; be sure every quadrant is interesting.
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Knowledge is power; the Wright brothers flew because they understood the laws of aerodynamic. Likewise, understanding the "rules" of composition sets you free. It doesn't obligate you to use all of them all of the time. Knowing them well, you'll know when you can safely ignore them. You'll use the rules not merely to prevent or solve problems, but also to have fun thumbing your nose at them. Degas could challenge the rules of composition because he know them well - you could say they spent a lot of time together.
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Below are two views, of a Chicago apartment, done for Chicago Architect Zesong Feng.
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Music exists in time; visual art exists in space. Yes, the two have much in common. It's intriguing to find music texts speaking of "directional lines through space," and of intervals and other terms we would have thought were exclusive to visual arts. Likewise, visual artists speak of rhythms, tempos and movements - all better known as musical terms. Many concepts overlap, and the overlaps have things to tell us.
Variations in tempo create rhythm, intervals of space or size have a similar impact in visual art. Anything of a similar nature that appears in sequence but can be broken or separated at irregular intervals. - a line of clouds or mountains, a border of foliage - also creates rhythm. Repetition is the key. When you look at a row of trees or picket in a fence, and each is lined up with military precision, with no variations in intervals of space, there are no surprises, nothing to take your breath away. But suddenly one tree or picket steps out of line or leaps above the rest. Something is happening, and we watch to see what comes next. The effect is subtler than its equivalent in music, but the impact is significant.
Movement may be diagonal, horizontal, vertical, pyramidal, circular or perhaps convoluted. These are lines of sight through a picture plane - directional lines through space! They are created by edges of contrasting value or temperature, by objects of repeated shapes or color, or applied line. The eye follows up, over and around, wherever those lines of sight lead. How rapidly the eye follows may be determined by how straight and unencumbered the line is., how hard the edge is, or, with implied line, how widely spaced the objects are that form it. Straight lines that converge have the effect of "zooming" the eye along towards their junction; if the line stops, the eye stops, too. Remember, you, the artist, make it happen, All this is under your control.
Compositional schemes are varieties of movements meant to move the eye through the rendering. The eye flows along one applied or implied line until redirected. In Western culture, we read left to right. Horizontal and diagonal patterns tend to lead the eye out at far right, rather than turn them around to revisit the entire picture plane. So to block the eye from making a rapid exit, we add an eye-catcher, otherwise known as a "stopper"
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When light fades, color go with it, yet this is not just a question of the quantity of light; it's also the quality. Both time of the day and climactic conditions make a big difference. Morning, midday and afternoon light all have a different effect on color, making them cooler or warmer, crisp of vague.
Distance. Color nearest to us appear brighter and warmer than those in the distance; colors seem duller and cooler as the atmosphere in between increases. If you want objects to recede in the distance, they have to lighten, as well.
Surrounding Colors. Every aspect of color is relative. Learn to see each color with a fresh eye every time.
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