Simplicity is common illustrators techniques; a cluttered rendering confuses the viewer and takes away from the center of interest. A straightforward rendering can be achieved by getting closer to the subject.
Simplicity is one of the main components of mostpotent renderings. The simpler the rendering, the easier it is for the viewer to understand and appreciate it. Cluttered images are less visually pleasing and more likely to cause the center of interest and peripheral objects to confuse each.
There are several ways to achieve simplicity in a rendering. The most obvious (and easiest) use is to put the center of interest against a neutral background like a cloudless sky.The more practical method of achieving clarity involves focusing on the subject while ensuring the environment is unfocused, which is the depth of field.
The rule of thirds is one of the most important and often referenced rules of subject placement.
Imagine that your rendering canvas is divided into thirds, both horizontally and vertically.
The rule of thirds says to align the center of interestwith one of the points where those lines cross. That means the center of interestis one third of the way “into” the picture space – from either the top or bottom, and from either the left or right; it’s not in the middle.
In the above illustration my subject placement, which is my center of interest, is the front entrance. Notice how I placed my center of interest where the bottom right lines cross?
CounterpointYou can improve the rendering composition by creating a counterpoint. If you place the center of interest in the thirds position, you can place a secondary focal point at the diagonally opposite thirds position.HorizonsA natural extension to the rule of thirds is to place your horizon line along the one-third (bottom line) or two-third (top line) of thegrid, rather than in the middle. Whether you place the horizon closer to the top or closer to the bottom of the picture space, depends on which you want to emphasize more: the land or the sky. If you have a dramatic sky, by all means, give it two thirds of the picture space!Again, in the above example, I placed the horizon line on the bottom one third....
Here, is a small cabin rendering located in the woods of upper Minnesota. The architect provided 2d floor plans and elevations and the owner provided site photos. The owner needed my assistance to provide potential investors with an image to excite them in investing.
The plans and elevations were provided to me on a Tuesday, late morning, and Friday morning I presented them with the small cabin rendering. The small cabin rendering will be printed on premium photo glossy paper so all the rich colors of the forest, and the historic lodge colors can be truly represented.
Each rendering should have only one main center of interest that the viewer's eyes are drawn to. Any other elements within the rendering should focus attention to the main center of interest.A rendering without a center of interest can confuse the viewer. Subsequently, the viewer wonders what the rendering is all about. When the rendering has one, and only one, center of interest," the viewer quickly understands the rendering.When there is nothing in the rendering to bring the viewer to a particular area, the viewers eyes wander. The center of interest can be one object or several objects arranged so attention is directed to one part of your rendering.When the center of interest is a single object that fills most the rendering, such as a red door on a white house, attention is brought quickly to it. A person attracts attention more than anything else, and unless the person is the main object you should leave them out of the rendering. When people are included in a rendering for scale, keep them from looking in the direction of the camera. When people look at the camera, the viewer tends to look back at them. Center of Interest Placement
Good composition is rarely obtained by placing the center of interest in the center of the picture; it is generally a bad idea to place it there. A lot of the times it divides the rendering into equal halves and makes the rendering boring and hard to balance. By dividing the rendering into 1/3, both vertically and horizontally, and placing the center of interest at one of the intersections, you can usually create a well balanced composition.
Polygonal modeling is an approach for modeling objects by representing their surfaces using polygons. In this screen recording, I'll give you an idea of what poly-modeling is. The video is for those who are foreigners to computer modeling and would like to learn the terminology used by computer modelers.
Yes, technical skill, is necessary for a successful rendering, but, technical expertise is nothing more than a requirement with which one might then be able to do terrific renderings. Technical proficiency alone does not make for a good rendering; it is just one of the necessary parts.
Start with the basics. No matter how dull they may be, they are essential for creating a foundation that can later be built upon. Below is a list of topics that can be investigated, learned about, and eventually used in practice.
Living in the Midwest, particularly in Northern Illiniois, I have memories of sitting in front of an open window listening to birds chirp, smelling the lilacs outside, and feeling the heat of the sun on my shoulder. I wanted to create an image of a tranquil place to sit, read a book, and relax.
[[posterous-content:pid___0]]Software:Autodesk® 3ds Max® Design Adobe Photoshop CS5 ExtendedPlug-ins:V-Ray for 3ds Max Nik Software Color Efex Pro™ 3.0
We often put the photos we take into frames as a way of displaying and drawing attention to our favorite photos – but there is another type of framing that you can do as you’re setting up your virtual camera that can be just as effective doing just the same thing!
Framing is the technique of drawing attention to the subject of your rendering by blocking other parts of the rendering with something in the scene.
The benefits of framing your rendering include:
giving the rendering context (for example framing a scene with an archway can tell you something about the place you are by the architecture of the archway or including some foliage in the foreground of a render can convey a sense of being out in nature).
giving renders a sense of depth and layers (in essence framing a render generally puts something in the foreground which adds an extra dimension to the render).
leading the eye towards your main focal point (some ‘frames’ can draw your viewer into the picture just by their shape). Some also believe that a frame can not only draw the eye into a rendering but that it keeps it there longer – giving a barrier between your subject and the outside of the render.
intriguing your viewer. Sometimes it’s what you can’t see in a rendering that draws you into it as much as (if not more than) what you can see in the rendering. Clever framing that leaves those viewing your image wondering a little or imagining what is behind your frame can be quite effective (get it wrong and it can also be quite annoying!).
Frames for renderings come in all shapes and sizes and can include rendering through overhanging branches, rendering through windows, using tunnels, arches or doorways – you can even use people (for example rendering over shoulders or between heads) etc.
Your frame doesn’t need to go completely around the edges of your rendering – they might just be on one or two edges of your render.
My rule of thumb when considering framing is to ask the question – ‘will this add to or take away from the rendering?’ Sometimes framing can just add clutter to a rendering and make it feel cramped – but at other times it can be the difference between an ordinary rendering and a stunning one.
Lastly – if you do use framing techniques you also need to consider whether you want your frame to be in focus or not. In some instances a nicely blurred frame will really add a sense of mood and depth to your rendering (in this case use a large aperture) but in other cases to have your frame in focus can help with adding context to the scene (in this case choose a narrow aperture.)
Life moves pretty fast. If you don't stop and look around once in a while, you could miss it. — Ferris Bueller
I wanted to create a relaxing space that I would want to lay my head. After spending about an hour searching the web for reference photos I realized that the web is full of clean, aseptic and sterile spaces. when I close my eyes and picture a room that I would want to relax in below is what I see, so my imagination is my only reference. Unfortuanly you can't hear the birds chirping out the window, smell the fresh cut lawn, and feel the warmth of the sun coming through the window, but when I close my eyes I can.
For most artists, skill is the product of hard work. Some ability is important, but you must have the dedication to refine your talent. Few are born with amazing abilities.
It sounds cliché, but perseverance is paramount. You should develop your skills as an artist first. Always look for opportunities to improve.
Not everyhing is a commisioned work of art. Some project are down and dirty with little budget allocated for illustrations.
From start to end this render took approximately 4hrs to complete. The intent was to help the developer market a piece of property to potential investors. With colaboration from the project manager, developer, and architect the front entrances recieved gables to give the building a litlle more curb appeal.
A reference image (whether drawing or photo) could be characterised with one of three different perspective types. The key difference between the three types is the number of ‘vanishing points’ – an actual point, or points, in the scene towards which all lines converge.
Let’s now take a look at each type in turn :
One-point perspective
An image with ‘one-point’ perspective will contain only one of these ‘vanishing points’, and as such there will be only 3 ways that lines in the scene can be shown – 1) running vertically, 2) running horizontally, or 3) at an angle, converging towards the ‘vanishing point’.
Take a look at the example images below. In the top one, you can see that the camera has been placed so that it looks directly down the street. The fronts of the buildings are exactly perpendicular to this direction, and therefore present us with only vertical or horizontal lines. The tops and bottoms of the buildings (and the other lines in between) however, are all at an angle. If you were to take a pencil and ruler and extend these lines further into the scene, you would see that they all come together and cross at a single point, and that (as you’ve probably guessed), is our vanishing point.
The photograph below it shows the same effect, this time looking down a train track.
Two-point perspective
As you have probably inferred from the name, two point perspective has double the amount of vanishing points. If you take a look at the examples below, you can see that the camera is no longer positioned so that it’s looking directly towards a particular vanishing point, and as a result the horizontal lines from the previous perspective type are now running at an angle – something that introduces our second vanishing point. If you were to extend all of these angled lines as before, you’d see that they now eventually meet on either the left or right side of the image. Vertical lines are still vertical however!
One other thing to take into account are ‘horizon’ lines, the imaginary line at the same height as, and running perpendicular to the camera. This can quickly be created by drawing a straight line between our 2 vanishing point, and is used to get an estimate for the height of the camera.
The photo shown gives a typical, everyday example of two point perspective – the corner of a building.
Three point perspective
This perspective type takes things to their natural conclusion. Our camera has now been rotated, giving us our two vanishing points, but also tilted to look either up or down at the scene. This tilting makes our previously vertical lines angled, introducing a third vanishing point either high above, or far below the scene. The examples below both show this three point perspective, and you can see just how much more dramatic this makes the image feel.
Wow, 1068 pages... I am starting VRay - THE COMPLETE GUIDE today. I had this book on my to-buy list for awhile now and I am excited to dive in!
VRay - THE COMPLETE GUIDE - second edition is the first book in the world completely devoted to VRay. Its aim is to provide an advanced support for the specialists in this branch. All too often we lose a lot of time searching the meaning of a particular parameter. Who hasn't spent entire days trying to understand what was wrong with their rendering? Having some “presets” is not enough: it is necessary to understand and have knowledge of the tools daily used. This is the only way thanks to which you'll be able to face more and more difficult tasks.
VRay - THE COMPLETE GUIDE - second edition was born thanks to two year's hard work, during which we tried to produce a high-quality handbook committed to VRay's users. Not just a basic list of commands, but a special tool, composed by technical and theoretical parts, by which you'll be carried away! You'll be able to find, through 1060 pages, 2300 images and 3200 renderings expressly created for this handbook.
Enclosed you'll also find a DVD-ROM containing 32 animations in .mov format, bearing examples otherwise impossible to understand via images only.
It's an unrepeatable handbook, difficult to find elsewhere: made up of 1060 pages, full color, A4 21x29x6cm (other manuals are usually smaller: 21x19x4cm). Bound with extreme care, through paperback binding stitched with wire referendum and not simply glue, it holds up through the time. The hardback cover also is hardbound disk, allowing a better usability.
We just released a new 3d model collection of fences. This collection consists of 37 types of fences made from different materials. Includes: 21 metal fences, 12 wooden fences and 4 made of glass. Most fences have the main section of the fence, gates for vehicles and gate. All 3d models of fences were prepared for use with V-Ray and have customized high-quality materials and detailed textures. System Requirements: 3ds max 2009 and higher, optimised for V-Ray 1.5 and higher
This new plug-in allows to periodically multiply geometry without additional memory consumption. As a sample you can use any tiled geometry (or those with unobtrusive joints) VRayPattern allows curving geometry of any surface. The plug-in works in similar way as displacement map. However, displacement map can only use raster or vector maps of pattern to cover the surface of geometry, VRayPattern can use any of the original geometry for propagation.VRayPattern - products page
The relationship between the camera and the object being rendered (ie the ANGLE) gives emotional information to an audience, and guides their judgment about the character or object in shot. The more extreme the angle (ie the further away it is from eye left), the more symbolic and heavily-loaded the shot.
1. The Bird's-Eye view
This shows a scene from directly overhead, a very unnatural and strange angle. Familiar objects viewed from this angle might seem totally unrecognisable at first (umbrellas in a crowd, dancers' legs). This shot does, however, put the audience in a godlike position, looking down on the action. People can be made to look insignificant, ant-like, part of a wider scheme of things. Hitchcock (and his admirers, like Brian de Palma) is fond of this style of shot.
2. High Angle
Not so extreme as a bird's eye view. The camera is elevated above the action using a crane to give a general overview. High angles make the object photographed seem smaller, and less significant (or scary). The object or character often gets swallowed up by their setting - they become part of a wider picture. This is that god awful SE Isometric that we see from newbies.
3. Eye Level
A fairly neutral shot; the camera is positioned as though it is a human actually observing a scene, so that eg actors' heads are on a level with the focus. The camera will be placed approximately five to six feet from the ground.
4. Low Angle
These increase height (useful for short actors like Tom Cruise or James McAvoy) and give a sense of speeded motion. Low angles help give a sense of confusion to a viewer, of powerlessness within the action of a scene. The background of a low angle shot will tend to be just sky or ceiling, the lack of detail about the setting adding to the disorientation of the viewer. The added height of the object may make it inspire fear and insecurity in the viewer, who is psychologically dominated by the figure on the screen.
5. Oblique/Canted Angle
Sometimes the camera is tilted (ie is not placed horizontal to floor level), to suggest imbalance, transition and instability (very popular in horror movies). This technique is used to suggest POINT-OF-View shots (ie when the camera becomes the 'eyes' of one particular character,seeing what they see — a hand held camera is often used for this.
Planned images hold the viewer's interest longer and often lure the viewer to look again. Visual artists found that following certain composition principles improves interest. Follow the steps to ensure that your renderings are impressive.
Determine a primary center of interest that is the most important to you before you push the render button. Compose to emphasize that point of interest.
Keep it simple by allowing only things you want to be seen to be in the render. Know that your message will be lost if numerous objects are cluttering the background. Look for an angle to avoid showing the clutter or frame the center of interest to isolate it. If clutter is still visible, keep the background unfocused by using depth of field control.
Use light and darkness to your benefit. Place a light subject against a dark background and a dark object against a light background. The placement adds interest and emphasis to the renderin. Using contrasting colors can become distracting if the usage is not considered carefully.
Realize that informal balance or asymmetric is more pleasing in a render than formal (symmetric) balance. Place the main center of interest off-center. Balance the "weight" of the main interest with other objects (lower impact or smaller). Understand that unbalancing the render is more effective than having the subject centered in the render.
Framing is when an object in the foreground leads the viewer into the picture. Framing may give the viewer a 3D view of action in the render. Know that the best kind of framing is when the foreground object occupies three to four of the corners, leading the viewer's attention to the center of interest. Realize that framing usually improves a picture. Understand that the "frame" does not need to be in sharp focus and that it could be a distraction if it has too much detail.
Move the camera up or down or step to one side to change your render dramatically. Realize that a good way to create prize-winning renderings is to take the render from an "unusual" point of view.
Leave some space in front of your subject if the subject is a person or a living thing that can move. Understand that doing so makes the object appear to be moving into, instead of out of, the render.
Place linear elements such as waterways, roads and fences diagonally to give a more dynamic render than horizontals. Know that this rule is called "leading lines" because the lines lead the viewer's attention to the center of interest.
Use the "rule of thirds," based on a principle taught in photography. Know that the theory says the eye goes naturally to a point that is about two-thirds up from the bottom of the page. Visually divide your image into thirds (either horizontally or vertically) to achieve asymmetric or informal.
In the above illustration my subject placement, which is my 
For most artists, skill is the product of hard work. Some ability is important, but you must have the dedication to refine your talent. Few are born with amazing abilities.
Not everyhing is a commisioned work of art. Some project are down and dirty with little budget allocated for illustrations.
