Lukasz Gradzki from renderare breaks down the process of creating one of the images for the Minoco Wharf project they were involved in making visuals for. What I like the most about their process on this one, is how simple the basic model could be… and how they use textures instead of modeling and lights. I do find it funny how a SketchUP model is the “base” for further AutoCAD modeling… It seems almost sacrilege to me (more about the tools we use in an upcoming post).
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Lasse Rode’s continues to share more insight related to his Tugendhat House 3D Recreation project. This time he writes a bit more about the creation of the interior images (focusing on one of them). Make sure you read the first part about the Making of Tugendhat House Exterior 3D Renders.
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Lasse Rode’s did a remarkable job at 3d recreating Villa Tugendhat, a house designed by master modernist architect Mies van der Rohe. Today he responds to the many requests for sharing more insight about his work on this scene, which was done as a personal project over a period of few weeks to test color-mapping and GrowFX tree creation among other things. In this article he focuses on the exterior part of his work.
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3dnotos studio sheds some light about the making of their striking “House on the Coast” image posted not long ago on the forums (Done in viewport still screen capture style mostly). I love the look & feel they went for on this one, being an actual client work, and not the usual treatment one would expect… this image offers both warmth and cold feelings with a very smart placement of the women overlooking the sea from her exterior deck.
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Architectural visualization artist Matt Guetta shares his process of making Taliesin Mod.Fab – A project designed and built by students of the Frank Lloyd Wright School of Architecture. Matt was motivated in exploring Taliesin Mod.Fab as a personal 3d project, being fascinated by the well designed and sustainable project made by students, focusing mostly on lighting and materials. He also took the liberty to create a different environment for the house then the Arizona desert it was originally situated in.
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After covering the initial stages in Part 1, Materials in Part 2 and Lighting in Part 3, Ludvík will now finalize the Esherick House series with insight about his rendering setup and post production up to final image output. I hope you enjoyed this series as well as I did and that it helped shed light on the inner works of the Mental Ray render engine and will help you in your own workflow with it.
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paguthrie on 