- last edited on by
Noemi Balogh
eg. pro's & con's
(AC9 & Art R with a little p/shop)
Thanks,
Peter
This is technically excellent, possessing the ideal commercial composition for a dwelling for a person with new money - a cold-hearted shark, say, who cons old ladies into parting with their life savings so he can build a waterfront home. This is because the image is "cold," being a psychological barrier to appeal (except to the aformentioned financial shark person).
Of course, i am being overly-theatrical with my response, but i'm probably not alone at the subconscious level.
Consider these ideas:
1: The background brings a suggestion of high haze or overcast sky, but the shadows are perfect and sharp, almost as sharp as the sunlight in Lower Hutt, New Zealand. Of course, everyone knows that it is ALWAYS sunny in Perth, too. Had a lovely time there last April visiting relatives and my old college chum Paul Sims. He invented the famous video game (joke). I'd soften the light and try to fill the soffits with light energy because they appear sinister. Will remember Perth because of the enthusiastic seminar audience.
2: Those bricks, as the dominant textural elements in the image, are way too well-defined. The mortar should be greyer and the units smaller. View the image small as you've previewed it - the anti-aliasing of the smaller image "videos" the pattern, making it stick out - a sure sign that a texture is too strong. For instance, the soffit boards recede as a texture should. Can you help the bricks a little?
3: The light is cold. Subsequently, the foliage is bluish. Can you make the sun light more yellow? Yellow light would make me think of a person who got rich raising bunnies as pets for orphans rather than a person who ripped-off geezers.
4: Another sinister aspect of this image is the blackness of the interior. What's going on in there? Are they cleaning their guns or torturing the bunnies they stole from the philanthropist down the street upon whose house friendly yellow light falls? "Hey. I like the light on his house. Let's go steal it!" I'd be boosting the interior light AND increasing the transparency of the glass. I know that you guys are using that special heat-repelling glass that looks bluish and dense, but that is not the stuff to put into a rendering. A house like this is meant to show off the resident - help your client understand the exhibitionistic aspects of the design.
5: It is just a prejudiice of mine, but i likes me the dark foregrounds, eh?
In my image reply, you'll see that i textured and darkened the street paving. You could also use a street tree's dappled shadow to ground the scene. I l ike the shadow approach because it implies a world going beyond the model. A further foreground problem - one that we see all the time and is really hard to fix - is that continuous street of pavement forming a barrier to the eye. I'd be breaking-up that continuity with dappled shadow or a parked vehicle (in shade).
Of course, i am being overly-theatrical with my response, but i'm probably not alone at the subconscious level.
Consider these ideas:
1: The background brings a suggestion of high haze or overcast sky, but the shadows are perfect and sharp, almost as sharp as the sunlight in Lower Hutt, New Zealand. Of course, everyone knows that it is ALWAYS sunny in Perth, too. Had a lovely time there last April visiting relatives and my old college chum Paul Sims. He invented the famous video game (joke). I'd soften the light and try to fill the soffits with light energy because they appear sinister. Will remember Perth because of the enthusiastic seminar audience.
2: Those bricks, as the dominant textural elements in the image, are way too well-defined. The mortar should be greyer and the units smaller. View the image small as you've previewed it - the anti-aliasing of the smaller image "videos" the pattern, making it stick out - a sure sign that a texture is too strong. For instance, the soffit boards recede as a texture should. Can you help the bricks a little?
3: The light is cold. Subsequently, the foliage is bluish. Can you make the sun light more yellow? Yellow light would make me think of a person who got rich raising bunnies as pets for orphans rather than a person who ripped-off geezers.
4: Another sinister aspect of this image is the blackness of the interior. What's going on in there? Are they cleaning their guns or torturing the bunnies they stole from the philanthropist down the street upon whose house friendly yellow light falls? "Hey. I like the light on his house. Let's go steal it!" I'd be boosting the interior light AND increasing the transparency of the glass. I know that you guys are using that special heat-repelling glass that looks bluish and dense, but that is not the stuff to put into a rendering. A house like this is meant to show off the resident - help your client understand the exhibitionistic aspects of the design.
5: It is just a prejudiice of mine, but i likes me the dark foregrounds, eh?
In my image reply, you'll see that i textured and darkened the street paving. You could also use a street tree's dappled shadow to ground the scene. I l ike the shadow approach because it implies a world going beyond the model. A further foreground problem - one that we see all the time and is really hard to fix - is that continuous street of pavement forming a barrier to the eye. I'd be breaking-up that continuity with dappled shadow or a parked vehicle (in shade).
After such deep and qualitative analyzing from Mr. Dwight, I had to put one pic from one of the projects I'm working on now and hope I ll get some of world class critique too.
I wanted to save time (u wouldn't belive it
, no one wants to save time today 
) and rendered it right in archicad - LIHGHTWORKS, after a very little material correction. Dwight, I know u r lightworks "guru". I never rendered in archicad before.
There was one parallel topic for the rendering time qestion, Ill put it here:
This picture is originally size of 3300x2500 pixels and rendering time was 35 min. That is very good for a rendering that size, right? In any other specialized program (like artlantis) would it take longer - right?
I like the "depth cue" in lightworks - works really fine, but there are some problems, if u look at the picture the bottom circle road (at the small passenger bridge) is elevated 5m belove zero (that is the only way passenger, car and train traffic could be solved withouth crossing) and you cant get that feeling cause there is no radiosity. Of course, shadows could be added in photoshop but that means more work than get the project rendered in artlantis. Is there something what could be done?
I wanted to save time (u wouldn't belive it
, no one wants to save time today ) and rendered it right in archicad - LIHGHTWORKS, after a very little material correction. Dwight, I know u r lightworks "guru". I never rendered in archicad before.There was one parallel topic for the rendering time qestion, Ill put it here:
This picture is originally size of 3300x2500 pixels and rendering time was 35 min. That is very good for a rendering that size, right? In any other specialized program (like artlantis) would it take longer - right?
I like the "depth cue" in lightworks - works really fine, but there are some problems, if u look at the picture the bottom circle road (at the small passenger bridge) is elevated 5m belove zero (that is the only way passenger, car and train traffic could be solved withouth crossing) and you cant get that feeling cause there is no radiosity. Of course, shadows could be added in photoshop but that means more work than get the project rendered in artlantis. Is there something what could be done?
Thank you for excellent - world class - critique. I agree with all your ideas.
I like your cirtique style. You are combining your stand-up comedy skills with the seriousity and boringness of architectural critique and that focuses peoples attention much better on your thoughts and makes them easier to understand. Excellent. Keep the good work on.
Your all other ideas are also very good, Ill try to implement them!
Impending disaster: the airliner is on a collision course with the balloon. Airliners at low altitude far from an airport are sinister. We fear that the pilots are chanting. Besides, everybody knows that terrorists cannot resist destroying spheres painted with orange and blue stripes. Like a red cape to a Spanish bull.
...in North America we have trucks dangling mudflaps with chrome silhouettes of reclining, long-haired women....They say "Look!! On the mud flaps!! Shiny women! Let's meet that guy, I think he's a doctor."
I like your cirtique style. You are combining your stand-up comedy skills with the seriousity and boringness of architectural critique and that focuses peoples attention much better on your thoughts and makes them easier to understand. Excellent. Keep the good work on.
Make an accident at one of the traffic circles. That would be photo-realistiic.I have vehicles in my library like police, ambulance fire vehicle, car wagon... I thought Ill never use them, you gave an excellent idea for some accident scene.
Your all other ideas are also very good, Ill try to implement them!
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