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In the field of architectural design, visual representations represent ideas; It plays an important role in presenting ideas and bringing ideas to life. Among many tools, Adobe Photoshop stands out as a powerful ally for architects who want to create stunning and captivating architectural creations. In this article, we’ll explore the art of architectural visualization and focus on Photoshop rendering and painting techniques that enhance design.
Techniques For Achieving Hyper-realistic Rendering In Photoshop
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Before entering the world of Photoshop, it is important to have a well-prepared foundation. Start by carefully creating your architectural model, paying attention to detail and scale. Organize your layers wisely by separating elements such as walls, floors, and furniture. This step lays the foundation for a smooth and efficient rendering process.
When your architectural model is ready, export it to a Photoshop-compatible format. Common formats include JPEG, PNG or TIFF. Import the image into Photoshop and create a new project that matches or exceeds the rendering dimensions.
Create an attractive background that complements the architectural design. the real sky; Consider a landscape or urban environment. This step defines the subject, adds depth to the image, and enhances its visual appeal.
A key factor in architectural visualization is lighting. Experiment with lighting effects in Photoshop to enhance the naturalness of lights and shadows. light to achieve the desired atmosphere; Adjust exposure and saturation. Consider the time of day and the mood you want to express.
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Color plays an important role in expressing emotions and emphasizing design elements. Experiment with painting techniques to achieve a harmonious and balanced palette. Photoshop adjustment layers such as Curves, Levels, and Color Balance are powerful tools to enhance and adjust your color scheme.
Combine with textures to add realism and depth to your architectural renderings. Test the layer on a surface such as wood, concrete or metal. Use modes to add texture to your design and create tactile and visual results.
Finish the rendering in Photoshop by adding the final touches. Lens flare to simulate natural camera imperfections; Consider depth of field effects or subtle blur. Change the overall composition to focus on the architectural elements.
After your Photoshop rendering is complete, present it in a professional and engaging way. Create a portfolio or presentation that shows the evolution of your design. Team to refine and improve your vision. Ask a client or mentor for a recommendation.
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Mastering Photoshop rendering and painting is an art that combines technical skills and creative instincts. attention to detail; experiment with light and color; Architects can take advantage of Photoshop’s powerful tools to transform their designs into visually appealing renderings. Follow the creative process; Constantly improve your skills; Watch your architecture come to life with the magic of Photoshop. Creating photorealistic renderings is a constant aspiration for architectural artists. Although photorealistic rendering has been possible for years. Recent advances in rendering technology and rendering software have made photorealism an easier goal for any 3D artist.
Here are 11 tips to help you take photorealism to the next level in your next 3D rendering.
Simple things to start with: around the edges. I am surprised to see this rule being broken so often. There are many amazing pieces of architecture that use sharp geometry. Perfectly sharp edges do not exist in real life; It shouldn’t be 3D. Rounded edges allow light and reflection to affect the subject, creating a softer, more natural reflection.
There are various ways to achieve this goal. The most common use for 3ds Max is to bevel edges with the bevel modifier. Be sure to use this technique
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Another way is to add a turbosmog modification with mounting edges. This will create rounded edges and in some cases create a more realistic result. slightly longer; We rarely use this method because it creates additional geometry, and in most cases the difference is very small.
If you’re using this method, consider adding a tension gradient modifier set to 1.0. This is much faster than doing the support edge manually.
The final method is to round the edges using non-geometric materials. It works by adding an edge style (CoronaRoundEdges or VrayEdgesTex) to the object’s bumps. This is an interesting method and very fast. But it doesn’t create extra geometry, so the edges can look sharp at the intersection.
Look closely at any surface around you in the real world. Dust, stains, scratches, dirt and other defects will be noticed. But in 3D, most artists create their own material without trying to replicate these effects. Using imperfections to give meaning to scenes. You can add a layer of reality to your simulation. For example, the fingerprint texture mimics the changes in wooden floors caused by years of use and cleaning, or the greasy residue left on a smartphone.
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The most common way to introduce these defects is to use a polished channel of the material. This technique mimics reality because it changes the resolution of the object’s reflection. In most cases, it is a subtle effect; But that’s what we’re aiming for. You don’t notice clients leaving muddy footprints on the beautiful hardwood floors of their newly built apartments. Subtlety is key.
Another great way to introduce material defects is to simulate edge wear. Edge wear occurs when there is more wear on the edges of an object than on a flat surface, resulting in a different texture. This change in appearance is caused by scratches on paint, polished or varnished materials, when additional layers fall off, exposing the underlying raw material.
Edge wear can be simulated in 3D using layer materials and defects and edge patterns (CoronaRoundEdges or VrayEdgesTex) as masks. This technology allows you to control different materials and where they are used.
As suggested earlier, the drawback of many 3D renderings is that they are too perfect. This is why we recommend adding chaos and randomness to your scene.
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Think how unique it would look if all the cushions on the couch were rolled the same way, even folded the same way and spaced differently. This is easy to do in 3D, but not possible in the real world. To make some changes, be sure to copy the item to rotate, enlarge or reduce it. The best way to randomize object transforms is a script called transformRandomizer by Neil Blevins of SoulburnScripts. This tool gives you the position of any number of objects. Random rotation and scaling are allowed.
Adding geometric variety to 3D models can be a bit more complicated. But each object is equally important in its unique natural and organic form. A quick and easy way to do this is to add a noise or FFD converter. This method is sometimes more natural by using large soft selections and changing only part of the geometry.
But why stop here? Let me introduce you to various things. Subtle differences are very common, especially between similar objects in nature. When was the last time you saw grass with every blade green? Never, right? So, be sure to use CoronaMultiMap (or similar) to randomize your texture’s color and spacing, or create a completely new texture.
One obvious indicator that a lot of CGI is fake is the lighting. If you want photo-realistic shots, it’s best to simulate ambient lighting. Now there is still creative license here. Finally, one of the biggest advantages of 3D rendering is the freedom that the scene provides, which is not physically possible. But in reality, based on the lighting setup, the audience interprets CGI as more believable.
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The best way to create physically accurate lighting setups in 3D is to first define all of your light sources. their position; Consider shape, color temperature, and intensity. Once these are understood, they can be recreated in 3D to simulate reality. Both interactive rendering and light blending (Corona and Wray) are incredibly useful at this stage. Direct feedback can be experimented with different values to make your light faster and faster.
Sometimes it is difficult to determine the signs of light. Because our eyes adapt to different situations and change the way we see them. Consider the exterior of a building in direct sunlight. Interior