When One Door Closes…

suesMany of you have been hearing me say for quite awhile now that I am retiring. In fact I retired a few years back from kitchen and bath design, only to re-emerge a year or two later with a new business emphasis in 3D illustration of interiors. While I enjoyed the notion and activity of creating beautiful renderings, it never developed into anything more than a hobby. I came to the conclusion that I was tired of clients (and potential clients) who wanted me to work on their projects on contingency (I don’t get paid unless they sell the job to their clients), or for less than minimum wage. One guy even wanted me to do a project (or two) for free just to prove to him I could do it even though I sent him ‘sample projects’ that he raved about. I politely declined. Others couldn’t be bothered with signing an agreement ~ Yet these same people wouldn’t lift a finger for their own clients without one. While I know that times have been tough on everybody in the design and construction business, I think it is only fair to ask for reasonable compensation for my work. Work that I did because they couldn’t.  Adios Bitchachos!

There have been tell-tell signs that I’ve been moving in this direction. I haven’t updated my website for some time and my software is now two versions behind. I didn’t renew my business license or inform the powers that be of my new address when I moved. My computer is becoming something of a dinosaur and I’m not going to replace it until it absolutely will not surf the net anymore. (I had to restart it once while in the process of writing this post because it gets stuck.)

So I did all of the things today that one does to “close shop”. I closed my business bank account, ditched the business phone and virtual fax machine. In the near future, my website, pamdesigns.net wil be coming down. I sent letters to recent clients informing them and thanking them for their business. Feels rather strange as there are no lights to turn off nor a door to lock for the last time. Sadly, it just is. Because my business has been online for the past several years, it is going away with a silent breath that probably only I will hear.

acid

I like being retired. Not a financially savvy move, but one that I am content with. I am not destitute nor am I wealthy (or ever will be) in either case. I am enjoying doing the things I would never be able to do if I were tied to a job and hope to be able to get back into creating art as I did many years ago. One thing you can count on, I and this blog are not going away. I may not be making a living at it, but I am and will always identify myself as a designer and an artist. Just passing a milestone in my life like many others that are life changing (like graduating from school, taking a first job, getting married or kicking the last birdy out of the nest).

Really Bad Days 2

New Renderings

Wow –it’s been awhile since I’ve posted anything to this blog.  Sorry for being ‘off the radar’ for a bit. I’ve been ill for a few weeks and my ‘social media presence’ has suffered while I’ve been off feeling sorry for myself.  Well –f*** that! Time to get back in the game! While I’ve been away, I’ve actually been diligently working on some renderings. These are part of a project called Spanish Colonial ~ Dreaming of Todos Santos.

Dining Room ViewFoyer ViewKitchen View 1Kitchen View 2Livingroom View 1Livingroom View 2

….And an homage to the arrival of spring.Alternate ColorFront View

Long distance information, give me Memphis Tennessee…

Those are the beginning lyrics of “Memphis” by Johnny Rivers.  Why Memphis?  Well, as you might guess I’m planning to visit there. “Long distance” certainly as I am in California and have never been to Tennessee. I have recently been notified that the Blogger 19 are having a reunion in Memphis this coming July. I’m not big on traveling and I would probably never go there if not for the generosity of Brizo Faucets.9922638-green-memphis-tennessee-usa-highway-sign-on-cloud-background

I am a member of the original group of 19 kitchen design bloggers that were invited to attend the Fashion Week activities hosted by Brizo Faucets (already more than three years ago) in New York that included a runway show by fashion designer Jason Wu. Jason has been a long time collaborator with Brizo in their advertising campaigns and has since designed a line of faucets for Brizo.wu faucet If you don’t know Jason’s work by this connection with Brizo, then you might know him as the fashion designer that designed both inaugural ball gowns for Michelle Obama. Since then, Brizo has continued to host groups of design bloggers and the groups of ’19’ now number over 100.

Again, why Memphis? And especially, why the South in July? I believe it is because it is the headquarters for Delta Faucet that Brizo is a division of and they have facilities that can accommodate such a large group. I was also able determine that faucets are manufactured in nearby Jackson.  OK –these are deductions I’ve made from my internet sleuthing and I may be adding 2 + 2 and coming up with 6, but I’m sure more information about the event will be arriving soon.skyline

Truth be known, I’d go even if it were going to be on the salt flats of the Mojave in summer! I am very excited at the prospect of meeting up with my original B19 compadres as well as many members of the newer groups that I have become acquainted with through my social networking activities. I’ve only met a few of them in person, but am looking forward to meeting many more. I’m also happy to see our benefactors once again of Brizo and MSL who came up with this zany and cleaver idea to organize these otherwise unconnected and vastly dispersed individuals who have a vague and varied commonality of interest in kitchen and bath design that they have noted through their blogs.  Our “members” are spread throughout the US and Canada. We even have one that is from England!

“Help me, information, more than that I cannot add
Only that I miss her and all the fun we had
Marie is only six years old, information please
Try to put me through to her in Memphis Tennessee…”

More lyrics: http://www.lyricsmode.com/lyrics/j/johnny_rivers/

Hand Drawn vs. Computer Generated Rendering

One of the members of a group that I am a member on LinkedIn called Architectural Illustration posed the following question:

“What do you think about the future of hand drawn renderings? With technology advancing so fast, it is becoming easier to emulate reality when producing renderings. Also it is becoming easier to emulate hand drawn renderings as well! Is there any life left for the original one?”

This was my comment:

“I have been selling my artwork in one form or another for 45 years. My preferred mediums are acrylic and watercolor, though I have also enjoyed soft pastels, pen and ink, and charcoal sketching. While working on my design degree in the ’90s, I freelanced doing architectural renderings by hand. In the meantime, I developed my skills doing 3D computer generated renderings that I do exclusively today. (www.pamdesigns.net) 

Even though I use the computer now, I would recommend that anybody who wants to do architectural rendering should have a solid foundation in hand rendering simply to understand the fundamental requirements for spacial expression and developing compositions for scenes. Without this basic understanding, one may know how to work a computer program, but the results will not be as successful as they could be. 

In deciding whether to do renderings by hand or by computer, one has to ask why we render in the first place. Is it to create beautiful art pieces or sell a project? Realistically, it’s the latter. Renderings are tools like 2D drawings and are created for a purpose. They are not art for art’s sake. Photo-realistic renderings can be created with a level of speed and accuracy that I could never produce by hand. Though when it comes to concept and design development, nothing beats hand sketching in front of a client to win them over. If I were still designing in front of clients I would definitely be sketching my ideas by hand —then creating beautifully crafted 3D renderings on my computer that would seal the deal!”

So as you can see, I do not see a bright future for hand-drawn renderings as a profession, though it is still indicative to have a foundation in it to become a professional rendering artist –regardless of your medium– whether it be using computer software or a pencil. The key in determining which medium to use is one’s marketability and cost effectiveness. I do not believe that high-end computer renderings are easier to create than well executed handmade renderings. To become proficient using the software takes years of learning and practice. It also takes artistic talent (which is a whole other blog post) not just knowing the mechanics of operating a computer program. Even though one may produce renderings by computer exclusively, maintaining ones ability to sketch by hand and ‘see’ the potential of a rendered scene is fundamental to creating successful renderings.

That being said, the future of rendering is going to be driven by it’s market. As computer generated renderings become more able to produce photo-realistic images that imply one can actually view into the future, the value of artistic artwork pieces as architectural rendering have become less in demand. Is the artistry lost in producing computer generated photo-realistic renderings? To a degree, I believe this is so. Computer renderings can be made to look like hand-drawn or hand-painted works, but they can’t recreate the individualistic style of painting that is unique to the artist such as the loose impressionistic style of Jeremiah Goodman.

Jeremiah Goodman in his studio

The following is the artwork of  Jeremiah Goodman who is probably the most successful and well-known rendering artist of the last century. He’s in his 90’s now and still painting beautiful renderings from his studio in Manhatten:

Jeremiah Goodman_0001Jeremiah Goodman_0003Jeremiah Goodman Sir John Gielgud lr DRMJeremiah Goodman 3 Greta Garbo Dean Rhys Morgan793666_530625703635384_785817043_o337266_472250296139592_967256124_o23387_525120140852607_774613230_n

Alameda Project

I’ve currently posted some views to my Facebook Page https://www.facebook.com/pages/pamdesigns-3D/129609572712?ref=hl of some renderings that I created using Chief Architect software that will ultimately be added to my website portfolio. These were from a plan that I designed using Chief specifically for a portfolio piece.  All of the rendering (ray tracing) was done with Chief as well. Some minor touch ups were done with Photoshop Elements. For my fellow Chief users:  each ray trace took about 10 to 15 hours to run using the ‘high quality’ setting with variations of photon mapping and final gathering settings depending on the surfaces. I’ve learned that shiny metals can create all kinds of havoc and getting stainless steel to ‘represent’ is probably the hardest thing to render. Each view has a corresponding file where I deleted everything that wasn’t in the view to shorten the rendering time as much as possible.  All in all, I started this design about three weeks ago and the rendering process for about two of those weeks.

The current seven renderings are of the “public” indoor spaces that includes the kitchen, dining and livingroom spaces with views to the entry foyer and the outdoor deck that overlooks the hills in a rural setting that you would typically find in the area known as Alameda just outside of Oakland in the Bay Area of Northern California.. The views take place in the winter (date/time set for current) and vary from afternoon to night lighting.

My style choice for this design was decidedly modern. Primarily because my portfolio to date has represented traditional styling. I wanted to show that I am equally adept at modern and contemporary design. I also pointedly chose cool colors, sleek linear lines, hard edges and lots of stainless steel to show that these materials and shapes can exist in a space without making it seem too cold and uncomfortable. The success of this space has much to do with lighting and complementary textured pieces as well as lots of greenery and organic elements that soften the space. The effect I think is very livable.

Next, I will be working on the master suite. And in the future, designing the outdoor spaces and landscaping. There is a media room I may throw in eventually.Dining Room 1 Dining Room 2 Kitchen 1 Kitchen 2 Living Room 1 Living Room 2 Living Room 3

Seaside Ensuit ~ A Collection of Renderings.

This past week I have been creating a set of renderings inspired by a single photo of a design by Gary Riggs Designs.

Gary Riggs Design

Gary Riggs Design

The imaginary scene I created included an ensuit bath overlooking “somewhere” on the California Central Coast in the late afternoon in June.  The background scene is typical of sea views at the time and season of the year in that it looks a little misty.  Like the fog is going to roll in as it usually does at night along with some wind sometimes.

Seaside Bathroom

Seaside Bathroom

Wouldn’t it be nice to sit in this foamy warm bath with scented candles watching the sun set into the fog rolling in just beyond the horizon?  You can almost hear the waves lapping at the shore on the beach below.

Seaside Bedroom

Seaside Bedroom

This is the view I created inspired by Mr. Rigg’s design.  I just love that bed!  I wanted to give it more of a “Pacific” flair with a nod to the Far East and added more seagrass and wicker items.  The colors are a bit more subdued with the colors of sand and sea.  I enjoyed the opportunity to use blue and white accent pottery.

Seaside Bedroom

Seaside Bedroom

We’ll be closing the doors soon because it tends to get a bit nippy when the wind kicks up and the fog rolls in.

I’ve added some views!  You will likely never see a space from this perspective, but 3D plan views are much more interesting to look at than line drawings.  Bird’s eye views show you the floor plan in 3D of a room.  3D axon views of floor plans show you how an ensemble of rooms are adjoined and relate to one another in scale and material textures and color:

A bird's eye view (orthographic plan view) of the bathroom.

A bird’s eye view (orthographic plan view) of the bathroom.

A 3D plan view (Axon) of the total ensemble of related rooms and spaces.

A 3D plan view (Axon) of the total ensemble of related rooms and spaces.

A Personal Benchmark Study for Ray Tracing with Chief Architect Software

Warning – unless you are are a user of Chief Architect software -this post will make about as much sense to you as me speaking Spanish to my Mexican husband.  He usually just cocks his head a little and says: “Huh?”

So what is the purpose of posting this on the blog?  I wanted to share this info with other Chief users that might find this study helpful for their own ray tracing efforts. It’s the least I can do as there have been so many Chief users who have generously shared their information and helped me through some pretty difficult processes over the years.  For my purposes, it gives me a quick access location to view the different rendering schemes for comparison.  I have placed them on three new pages at the top of this blog.  Each page represents the different benchmark sections: Quick (Interior Quick Ray Traces), Standard (Interior Standard Ray Traces) and Hi Qlty (Interior High Quality Ray Traces). I think by placing them here, I can quickly access them to evaluate the setting parameters for future renders as I produce them.   

This View

Frustrated with the outcome of a ray trace I’d been working on for a couple of days, I searched Chieftalk (Chief Architect program users forum) for some answers. Typical problems I encountered were things like grainyness and mysterious light dots that would inexplicably show up after running a trace for 5 or 6 hours. I even found old posts that I had written in the past that still had valid info from forum users even though these posts were more than a year old. What I found interesting were the varying differences of opinions -both from experts and users- about what different settings do and what they are supposed to do.  Also, what users consider reasonable time invested vs. ray traced results. I chuckled at some who were frustrated at a trace that took a whole hour! I’ve been doing this long enough now (9 years a Chief user and 5 computer systems later) to know that a high quality, detailed ray trace rendering may take several hours to achieve.  And, if what you use the program for is primarily to create high-quality photo-realistic renderings, then no it’s not a deal breaker when you compare it to the cost of programs that only do high-end renderings more quickly –they are MUCH more expensive.

This to me is a major improvement over the days it literally used to take back when Chief used PovRay. My ray traces then were not near the quality of what I can produce now. I recall times when I would be running a trace overnight, just to get up in the morning to discover it had crashed and had to start all over again. And this could go on for a day or two before I got any sort of results!  No amount of Photoshop finessing could fix major problems that I encountered back then. That was about the time many Chief users I know discovered other programs for rendering that were much more effective at ray tracing Chief views like Artlantis and Kerkythea (now Thea Render) both in terms of time and quality of output. Because my focus wasn’t directly on rendering in those days, I stayed with Chief which finally developed it’s own rendering engine, Phoebe, a few versions ago. It keeps getting better, but there are still some nagging problems that don’t seem to get better. Based on recent comments, the newest version, X5, still has some issues -so I won’t be upgrading from X4 right away. One great improvement in recent versions is how Chief handles transparent objects –particularly glass. Windows with light coming through into interiors and reflection and refraction of light through transparent materials like water and glass objects. Again –amazing accomplishments when you consider that it can now rival it’s more expensive software competitors.

The last few days I’ve been conducting a little research project of my own to analyze ray trace settings as they apply to a typical rendering I produce. I had two primary goals: #1 What do the different settings accomplish; and #2 How long the ray traces take when a given setting profile is applied to them.  Aside from establishing parameters to get the best possible results in the least amount of time, I can then use this information to standardize my rendering processes.  This will enable me to give more accurate quotes concerning time completion and cost estimates based on my cost of doing business.  It also allows me to create a high quality product at  a reasonable and competitive price –something I could not have done with the old PovRay rendering engine.  I’ve finally come to believe Chief’s Phoebe is powerful and stable enough to compete with the ‘big boys’.  Additionally, I feel I’m at a stage in my development as a program user  in conjunction with my artistic ability that I can maximize results and produce a viable service.  So are the stars aligned?  Well –about as close as they’ve ever been!

My approach to creating views and representing spaces is a little different than most other rendering professionals I’ve encountered because I place a higher priority in regard to the experiential aspect of the space by inclusion of decorative objects, textures and especially location-specific light quality.  This is the hallmark of my creations that I feel sets me apart from my competition and makes my renderings unique.  Thus, against the advice and comments I’ve found in the forum, I tend to use some large poly objects to the limit that my system will allow. (If I go over what my computer system is able to process, the screen just goes black, and I have to edit the plan until I come up with something that will not crash.) So to get the details I like (and I like a lot), I’ve discovered how to incorporate 2-d images –though it’s tough to get them to look realistic sometimes. So I use Photoshop to fill in shadows and touch up where needed. None of the attached samples have had any Photoshop work done on them so you may be able to tell objects that are actually 2-d images.

About the model used here: Each sample is the same plan with the same 800 x 600 pixel view. It was created in X4 32 bit (because I often use Sketchup models and Sketchup is a 32 bit program), and ray traced in the 64 bit version because it doesn’t hang up as easily.  The program is optimized for ray tracing over Chief drawing and drafting (a preferences setting for the program). The ‘adjust image properties’ has not been used on any of the traces either.  This is not the typical size of renderings I tend to create.  I chose this size for the expediency of running multiple traces.   Mine are usually much larger and can be up to 1920 x 1080 pixels.  I think if you could figure out what percentage the sample size is to your planned rendering size, you could adjust the expected ray trace time accordingly

There are 11 lights being used. The six vanity lights are point lights set at high quality with shadows with 60W bulbs. The three candles are puck lights flipped over, reduced to 1/2” diam. Point lights at 15W each. (still too bright- don’t know what to sub them with as that’s the lowest wattage available). There is one 4” diam recessed light on that is not in the scene that is 75W spot light. There is also an unseen 75W non-fixtured ambient light at 75W near the view’s station point at ceiling height. The sun is turned on as a light and colored orange to address the sunset.  Chief users are often confused about the number of lights you can use.  In ray tracing the number is not limited but each one slows down the process.  This is why kitchen and bath ray traces tend to take more time than other types of interior views.  Chief’s regular rendering (vector view) application is limited (usually to 8 lights) depending on the limitation of the video card’s memory.  Ray tracing doesn’t use the video card.  This difference is an issue of semantics because a ‘rendering’ is one thing and…. well… a ray trace is a rendering too… just different!

Some of the things that contribute to the long running times of this ray trace are a few high-poly objects.  These “poly hogs” have multiple polygon faces that may not be seen in the view but are part of what makes an object 3-d.  The more detail an object has, the more faces it has.   Also the bath water texture has a bump map applied.  This adds texture to an otherwise flat 2-d image so that it looks like it’s 3-d (the light areas are pulled forward and the dark areas are recessed).

All of the ray traces have some settings that are the same:  they are 800 x 600 size. For the ray trace settings: Under lighting tab -camera view settings is turned off.   Direct sunlight intensity is set at 5. Environmental light (outside) is enabled and is set at 5 and colored orange to address the sunset in the view.  The photon numbers where noted is the multiplier that is applied to the default ( not the actual number of photons).  Depth of field (F stop) is not used.

Standard and High Quality schemes:  “Use ambient occlusion” is checked  at the default settings (.3 to 1.0).