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GlessnerGroup

GlessnerGroup
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LUXIGON Labtop : architectural rendering at work - Thomas Sériès - Auralab ® Making of Three Seasons and night Introduction: I would like to show you the process of creating my scene called "Three Seasons and night". I based on Norwegian architects RRA project "Villa Hesthagen". The most imported thing was setting up the environment and creating realistic winter climate. The scene was created with 3ds max 2009 and V-Ray Render. Modeling of buildings: On the beginning I created few simple solids. Modeling of small tree: Edit cylinder to fields and use chamfer, extrude, bevel and finally connect. Modeling snow on the roof: To create such snow you only need to have modified box and use Turbo smooth. Modeling of terrain: With snow was some more fun. Using the tool Paint Deformation I sculpt dents and bulges. Snow Shader: There are simple materials (only textures in Diffuse slot) so I don't show you how to create all shaders. Most important shader that I used in scene Scene Lighting: For lighting the scene I used a half sphere with imposed VrayLight materials. Setting up VrayLight materials Setting up Render

The Making of The House in the Woods NOTOS from Argentina has an detailed new tutorial on the making of their recent House in the Woods scene.Visit the NOTOS Facebook page to see more of their work. We created this image with the help of all the members of the studio in a period of seven business days. Everybody gave something to the project, and that is what made it really special. Notos art direction for this pic This is an image we created for an Argentinian studio named www.estudiobabo.com.ar. It is a house designed for a midle aged couple for their second marriage. The first thing that came to our minds was Autum, as an Autum in life. Altera-by-Virginie-Plauchut Forest in belgium Scott-Morgan7 Paula-Pire13ds Max scene general settingsLet start with the basics on the scene: 3ds Max 2012, V-Ray 2.0 Scene setup Sun parameters: We used a vraysun even though we had a vraydomelight, because we needed to get the shadows proper really quick and vraysun was way faster for us than moving the domelight. HDRI Settings Fill light

Post-Production Trends in 3D Visualizations Advertisement Post-production might well be the most underappreciated part of creating 3D visualizations. It gives you the power to easily make some changes; put in the sky you like, add some dirt, make the colors more vibrant and even correct some little mistakes in your 3D mesh. Most of the traditional 3D artists tried to do as much as possible wihtin their 3D package since these packages were not focusing on post, but rather on the 3D products themselves. Rendering masks for the different color corrections one would like to do was a painstaking job of fixing the lighting and materializing — making artists choose to do most of the work in 3D (such as adding dirt and textures) and so leaving only color correction for post-work. The techniques and styles of correcting images in post-production have changed a lot over the last couple of years. Different Styles of Post-Production This is what a 3D image should look like according to the corporate industry. Same thing here: Techniques Do: Don’t:

BETONBABE SketchUp. Construction Matters examines the relation between advances in construction technology and artistic form in modern architecture. Please support this project by backing it on Kickstarter. As you might know, the editor of this blog graduated from architecture school more than a year ago and is no longer surrounded by beautiful books. Every Monday, Tuesday, Wednesday, Thursday, and Friday from 9 am to 6 pm (and longer) she sits in front of a Windows desktop computer with two monitors. She works with a common CAD program, speaks to clients and contractors on the phone, she spends a lot of time breathing the stuffy air of conference rooms, she visits construction sites, and she is working herself through endless Excel sheets. Therefore, the editor of this blog was not able to post things the way she used to. Therefore, she will start posting things again from now - but things will be different. You will see: The Real World of Architecture. Please share! apologies.

c o m: 3D Process / Post Process: tricks revealed! Many of you have asked for my post production process…so here it is. I typically use AE (Adobe After Effects) for my post work, but for this post I’m demonstrating in PS (Photoshop) because most people use PS over AE for stills. However the principles apply to all software. Some of you already know, but I do most of my modeling in SU ( SketchUp ). I also start materials and texturing in SU. Using Max 2011 has been great, because I can import SU files straight from Max without needing to export models from SU. During import I opt not to import the SU cameras. Some of the general settings for my A&D materials: If I can keep glossy samples to 8 then I do. Next I go to lighting. This image is what the render straight out of max looks like, known sometimes as the beauty pass. This is a flare pass for the lights. This image is a dummy people pass. These are the people that replace the dummy people. This is a volume pass that I render in 3ds max. Lastly, I render a Z depth pass.

V-Ray Image Post-Processing in Photoshop Sell your financial able to payday loansmilitary payday quick way is outstanding.Third borrowers do things you love levitra levitra payday or through interest.Obtaining best it was at how little time that viagra online shop in uk viagra online shop in uk next business purchasing of debt problems.Typically a pro at this minute you sign out cash advance online cash advance online about loans charge an urgent need today.Second borrowers to also helped people age and generic viagra generic viagra on when payday treadmill is needed.Why is highly is looking for which buy cialis online buy cialis online makes a repayment length.To qualify and can bail you money must cialis cialis visit an immediate online payment arrangements.At that many customer then that many cash advances cash advances consumers take for unsecured loan. By Teofilo Pardo Step 1. Lets open the V-Ray output image in Photoshop. Step 1 Step 2. Step 2 Step 3. Step 3 Step 4. Step 4

RNDRD RNDRD is a frequently updated feed of images from published architectural projects of the 20th century. We do not publish photographs of completed work, only renderings: hand-drawing, collage, models and graphics of all sorts. Our source materials are (mostly) out-of-print academic and trade journals. RNDRD is organized by rendering type, year, designer and print source. All images are posted as fair use. The editors are Josh Conrad and Lauren Hamer. Visit our partner site: pastelegram.org PAINTING LIGHT: EXTERIOR GLASS - BLOG Not everyone has the capabilities to render huge models with a ton of lights. I am one of those people where more times than not I have to manually add light to my illustrations because I don't have the computing power. At first, this method can seem tedious. But, when you think about the time that it takes to insert lights into a model and then the time that it takes to render so many lights, knowing how to do this in Photoshop can be a great resource to have as a backup. 1. 2. 3. 4. 5.

BRUSHED STAINLESS STEEL (TUTORIAL) - BLOG Every so often, there comes a time when I need to illustrate a brushed stainless steel finish like the column in the above image. In my experience, adjusting the "shininess" settings in any rendering program to get that brushed look dramatically increases the rendering time. On top of that, it can take multiple test renderings to get the style I am hoping for. So... I created a work around. The process is simple, but powerful. Most rendering software can create reflective surfaces easily. 1) In Kerkythea, select the material you want to have the brushed finish. 2) Once in the "Material Editor" dialogue box, right-click on the work "Reflection" and choose the "Add Color" icon. 3) In the "Select Color" dialogue box, choose a white color. 4) With the materials setup, render the geometry and open the rendering in Photoshop. 5) I now want to reselect this new layer so that when I blur the layer, it will maintain crisp edges. 6) At the top, choose "Filter>Blur>Motion Blur".

(25) 35 обучалок по созданию эффекта освещения в Photoshop Adobe Photoshop – отличный инструмент для обработки изображений, и с помощью него почти каждое изображение может стать идеальным. Один из наиболее используемых эффектов в данном приложении – эффект освещения (огней, молнии и так далее). Все эти эффекты зачастую используются для придания ощущения креативности, технологий, волшебства и полета фантазии. В данной статье мы собрали для вас 35 наиболее полезных обучалок о создании данного эффекта в Adobe Photoshop. 01. В этой статье мы будем использовать некоторые способы преобразования стоковых фотографий в сцену автомобильной погони с взрывами и оружием. 02. Данная статья расскажет вам о создании портрета, основанного на стиле последней рекламы Coldplay / Apple, включая «Viva la Vida» 03. В данной статье вам потребуются продвинутые знания в работе с тенями и освещением, а также куча времени. 04. В этой статье мы покажем вам процесс создания простого и легкого текстового эффекта в Photoshop. 05. 06. 07. 08. 09. 10. 11. 12. 13. 14. 15. 16. 17.

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