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    NEWS CENTER

    Interview with Cheng Lei, Telling a Dream about Travel in Architectural Visualization

    Interview with Cheng Lei, Telling a Dream about Travel in Architectural Visualization

    2022-07-04

    Fox Talk

    CGarchitect Architectural 3Dawards

    Exclusive interview about 2019 ARCHITECTURAL 3D AWARDSThe CGarchitect Architectural 3D Awards, sponsored by Fox Renderfarm, is the largest and most prestigious awards event for the architectural visualization industry, attracting entries from top studios, freelancers and students from around the world.Fox Renderfarm is honored to introduce the winner of the Film/Animation(Student) category, Mr.Cheng Lei and his team from China who love animation.Cheng Lei3D InstructorFrom: ChinaSchool: SAN WEI KONG JIAN (3D Space)TRAVEL CREDITS:Artistic Director: Gang LiuProducer: Huifang LiInstructor: Cheng Lei, Xiaoting Qin, Hua Chen3D Artist: Xinhe Wang, Na Ding, Xudong Wang, Shuxin Yan, Zhiyu Wang, Zekun Feng, Feifei Chen, Xiaojiao Wang, Danyang Jin, Zesen Liu, Yumeng Wang, Yangjun Wang, Yinxu Niu, Yuxin Yang, Dan Xiong, Sipei Sheng, Siqing DuanThe winner team comes from SAN WEI KONG JIAN (3D Space), an educational institution teaching UI design, game design, film, and television advertising animation, architectural parade animation and more than 20 categories of courses.With the passion of animation, the students spent a total of two months discussing creative details, storyboards, models, material and light rendering, and post-production editing. Finally, they finished the original 3D architectural animation, which received international recognition.Behind the scenes of TRAVEL It’s the second time for SAN WEI KONG JIAN to win the CGarchitect Architectural 3D Awards. The students from SAN WEI KONG JIAN won the award last year for their excellent work About Y Chair, which is the first CGarchitect Architectural 3D Awards for Chinese student team. About Y ChairHere’s the interview between Fox Renderfarm and Cheng Lei, one of the instructors of the winning work.Fox Renderfarm: Hi, Cheng, would you please give a brief introduction about yourself and your team?Cheng: Hi, Fox Renderfarm, my name is Cheng Lei, I am an animation teacher. I come from Xi 'an, the ancient capital of 13 dynasties in China. All my team members are college students are from different universities in Xi 'an. Fox Renderfarm: How do you feel about winning this award? How do you feel about the D2 Conferences this year?Cheng: Of course, I am very surprised to win this award. I am very happy that my students can be recognized by the internationally renowned competition. It is their honor. This year's D2 conference was a great success and everything was arranged in perfect order. Thanks to the organizers and sponsors, it allowed me to see the wonderful works of different artists and promoted the mutual communication between the industry, which was a good learning opportunity. Fox Renderfarm: What’s your inspiration for this amazing project of Travel? Why did you select this project to participate in the competition?Cheng: My inspiration came from a sentence on the Internet a few years ago: "the world is so big, I want to see it." It was a resignation letter from an employee that went viral because of its unusual content. I asked my students if they wanted to make a film about travel, and they were all interested. Students in the animation class can only make two animations a year. They (can only) use the time of winter vacation and summer vacation (to create animation). Usually, they have a lot of courses to learn, there is no time to make animation. So there were only two animations, and we chose the one that is better. Fox Renderfarm: The whole film is led by different kinds of animals transformed from a resignation letter, any ideas behind that?Cheng: That letter of resignation actually represents the dream (in sleep) and dream (wish) of the Protagonist, taking the Protagonist to travel around the mountains and rivers, who gives up work to find the most authentic self. Fox Renderfarm: The scenery sites shown in the video are designed to illustrate the word “TRAVEL”, any ideas behind that?Cheng: Before the production, we asked the students to make the animation as delicate as possible. Because we wanted to take the animation to participate in the architectural 3D Awards which is about architecture, we chose to illustrate every character of the word “TRAVEL” in the form of architecture. About the shown architecture made, we did refer to many different architectural styles around the world, and then made up our mind about which to use and how to use them. And we tried to use mountains and rivers to demonstrate the idea of traveling around. Fox Renderfarm: What’s the most unforgettable and interesting part of the creation process?Cheng: The thing that’s unforgettable in the whole process is the adjustment of these animals because the students were not very good at character animation. Have you ever seen a cow walk on two feet, the deer flapped its front feet like a bird?Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?Cheng: The most difficult part is the paper crumpling animation. At last, we chose real shooting. We shot photos while folding once at a time, which was a bit like stop-motion animation, and finally synthesized into 3d scene through post-production. Fox Renderfarm: SAN WEI KONG JIAN devotes to the education of CG creation in China, how do you feel about the integration of Chinese culture and CG creation?Cheng: 3D Space (SAN WEI KONG JIAN) is an educational institution specialized in art design training. We welcome all of you to exchange ideas and learn from each other. Culture is diverse, and cultures from all over the world bloom together. It is because of regional cultural differences that a hundred schools of thought of artists' works contend. The national culture is the world culture, can combine their own national culture and modern computer animation to present to the world, is very meaningful.Fox Renderfarm: How long have you been in the 3D instruction field? And how did you make the decision to step into this industry?Cheng: I've been in CG for 8 years, just because I love it.Fox Renderfarm: Who or what project inspires you most in this industry?Cheng: From the moment I saw Up, I fell in love with animation, but somehow I got into the architectural animation industry. The two people who influenced me most were Alex Roman and Bohong Deng.Alex Roman and his work Bohong Deng and his work Fox Renderfarm: Have you ever used Fox Renderfarm cloud rendering services previously? If yes, how do you feel about it?Cheng: I have used render farm in China before, but never Fox Renderfarm, but I will use Fox Renderfarm in the future, thank the sponsors, I think it will make our rendering work better.Fox Renderfarm: Any other things you want to share with CG enthusiasts?Cheng: Don't give up your pursuit and love of works because of others' malice and incomprehension. Good works take time and endeavour. Thanks.


    Interview with Adrian Rubio Vasco: ArchViz Works that Fool Your Eyes

    Interview with Adrian Rubio Vasco: ArchViz Works that Fool Your Eyes

    2022-07-04

    Fox Talk

    3D Art Competitions

    Exclusive interview about 2019 ARCHITECTURAL 3D AWARDSIt is always said that seeing is believing, while sometimes you will somehow be confused or fooled by your eyes. Spanish ArchViz artist Adrian Rubio Vasco takes us in front of and inside The Longbranch Cabin made by Olson Kundig with his extraordinary ArchViz artworks. Each photorealistic ArchViz illustration features perfect perspective, lighting, and texture, making it hard to believe theyre ArchViz at all. Fox Renderfarm is delighted to interview with him, and you can have a closer look at the comparison images with real photographs in the interview to see if your eyes will fool you again this time.Adrian Rubio VascoFrom: SpainArchitectural VisualizerSchool: 24studio VIZThe Longbranch Cabin: Nominated work in Student (Image) Category of CGarchitect 2019 ARCHITECTURAL 3D AWARDSCREDITS:Student: Adrian Rubio Vasco.Teachers: Jesus Manuel Jimenez and Sandra Ferminnan.School: 24studio VIZ.Project designed by Olson Kundig.Fox Renderfarm: Hi, Adrián, would you please give a brief introduction about yourself?Adrian: Hi, Im from a small city in Spain, Zamora, where I did my career in Interior Design at the EASD. Later I moved to Madrid where I studied visualization at 24studio LAB. Ive always been passionate about photography and almost every visual media so Im very happy to be where I am right now.Fox Renderfarm: How do you feel about being nominated in The CGarchitect Architectural 3D Awards?Adrian: I wasnt expecting to be nominated so it was a big surprise.Fox Renderfarm: Whats your inspiration for this amazing project? Why did you select this artwork to participate in the competition?Adrian: As a student at 24studio LAB, we were asked to choose a real project and try to recreate the whole images, which is a great way to learn how light and materials work in real life. I didnt had the intention to submit the work to any contest, but it ended looking so good that the people at the school encouraged me to do it anyway.The Longbranch Cabin its really different from the architecture we used to see nowadays, also the photographers did a terrific good job, the pictures are spectacular and have very complex light and a lot of rich materials to practice and learn.Left: Longbranch Cabins photo by Benjamin Benschneider; Right: ArchViz by AdrianFox Renderfarm: Could you introduce the light design and the composition of this project?Adrian: I just focused on the details, the bounces, reflections, and tried to understand everything that was going on and make it on Max. For the direct lighting, I used a VraySun, a Vraysky and a blueish big sphere for the ambient light and a sunset HDRi for the reflections.Fox Renderfarm: How long did it take you to finish the work?Adrian: It was a total of six images and we had 4 months to make them all, but I wasnt working full time nor every day, so I cant tell exactly the time.Fox Renderfarm: Whats the most unforgettable and interesting part of the creation process?Adrian: I asked the architects for more detailed plans, but they didnt answer, so I ended modeling the Cabin from the references perspective for each image, and I think that it gave the images a nice little touch of realism. Left: Photographs by Kevin Scott, Benjamin Benschneider; Right: ArchViz by AdrianFox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?Adrian: Aside from the modeling methodology, I remember struggling with my old computer to get the renders done without crashes, which made me learn a lot about how to optimize the scene and render settings.Fox Renderfarm: How long have you been in the architectural visualization career? And how did you make the decision to step into this career?Adrian: Once I finished my education at 24studio LAB they offered me an internship at their marketing and visualization agency 24studio. Ive been there for 9 months now.Fox Renderfarm: Who or what project inspires you most in this industry?Adrian: If I have to choose only one, the Third and the Seventh by Alex Roman. It's beautiful, I remember watching it and think to myself... I want to be able to do this one day.The Third & The Seventh by Alex RomanFox Renderfarm: As an outstanding architectural visualization artist, what do you think are the qualities that will make a great artist greater? And what do you do to enhance your professional skills?Adrian: Im still learning and improving, but I think experience and resources are very important for time-saving. At the end is all about finding the balance between how far can you push your images into realism and the time you have to make it possible.Fox Renderfarm: Whats your next step?Adrian: In my spare time, Im learning and working on my own script for Max and also learning 360 photography to make virtual tours and my own HDRis. The next step would be learning how to photograph PBR materials or UE engine for real-time rendering, theres a lot of interesting things to do and learn in this job.Fox Renderfarm: Have you ever used Fox Renderfarm cloud rendering services previously? If yes, how do you feel about it?Adrian: I havent used any render farm yet, but I will definitely look into it for future projects.Fox Renderfarm: Any other things you want to share with CG enthusiasts?Adrian: Its great to be part of such a nice and talented community and I hope that someday I could contribute to it as much as it has contributed to me.For more Adrians artworks:ins: https://www.instagram.com/adrianrubio.pro/web: https://www.adrianrubio.pro/


    Interview with Jesús Gómez San Emeterio,  Interactive Design in UE Empowers ArchViz with More Possibility

    Interview with Jesús Gómez San Emeterio, Interactive Design in UE Empowers ArchViz with More Possibility

    2022-07-04

    Trending

    Architectural Visualization

    Exclusive interview about 2019 ARCHITECTURAL 3D AWARDSHey, friends! Thank you so much for keeping up with our CGarchitect 2019 Awards interview! After seeing numbers of the well-made artworks, from images to short films, students to professional ArchViz creators, personal works to company projects, Fox Renderfarm is excited to introduce you a novel form of ArchViz: the Master Bedroom created by Jesús Gómez San Emeterio, nominee for the Interactive Category.Cant wait to see the interactive artwork? Read our interview below, Jesús reveals how he finally made it possible with months of trials and errors in UE!Jesús Gómez San EmeterioFrom: Spain3D ArtistMaster Bedroom by Jesús Gómez San EmeterioFox Renderfarm: Hi, Jesús, would you please give a brief introduction about yourself?Jesús: Sure! I'm Jesús Gómez San Emeterio, an Architect and 3D artist from Spain dedicated mainly to Architectural visualization and to narrate what is in my head with CGI in my free time.Fox Renderfarm: How do you feel about being nominated in The CGarchitect Architectural 3D Awards?Jesús: I feel really proud and recognized, it was the first year that I participated and it was really emotional when I saw my name with the best studios around the world.Fox Renderfarm: Whats your inspiration for this amazing interactive artwork? And why did you create the work in an interactive way instead of just still imagery? How do you feel about the differences between still imagery/video and interactive Archviz creation?Jesús: I think that interactivity is a new way of experimenting unbuilt Architecture. When I do a still image, for example, I always try to express something, to make the viewer see through my eyes for a moment And there is a beauty in that. Interactivity is more related to exploration, it allows the viewer to experiment the space with freedom and I'm sure that every person will do it differently.Also, from a technical point of view, you can add much more information, like to see where are you located with the planimetry in real time or change materials, lights... and see how the space changes with your decisions for example.I like both ways of communicating architecture, they are very different and unique.Fox Renderfarm: Why did you select this interactive artwork to participate in the competition? Which part of the artwork do you like the most?Jesús: Through last years I did a few little demos, testing and learning Unreal Engine. I thought that this work shows what I learned in a bit more professional way, so it was the only one that I presented.The part I liked the most was when I could make changes of materials and see how the space turned into something different in the blink of an eye with photoreal quality, it is like magic!Fox Renderfarm: Could you introduce the layout and lighting of this master bedroom?Jesús: Sure. All is bake lighting. It is composed by a stationary directional light (sun) visible at the bed and an atmospheric fog + HDRI captured by a Sky Light.I share the lightmass values used in this project, as you can see the static lighting level scale is really low and gives high precision in the light calculation over the meshes.Post Process Volume has a big impact on Unreal Engine as you can see in the picture. The cool thing about it is that all changes in real time, so it gives you the opportunity to be focused on the art direction.Post Process VolumeFox Renderfarm: We discovered the decoration and the furniture are beautiful and coherent, did you refer to any style or artist?Jesús: Thank you! I think that everyone can appreciate the interior design when you put some effort into it and use it as another tool for communicating ideas. In this case was a personal design.Fox Renderfarm: How long did it take you to finish the work?Jesús: That's a tricky one as I did it in my free time, maybe this master bedroom could take some weeks, but behind it, there are months of trials and errors, researches, frustrations and small successes that I can't even count.Fox Renderfarm: Whats the most unforgettable and interesting part of the creation process?Jesús: The best part I think was to be able to see the same scene with a very different perspective with a successful migration from offline rendering to Unreal with interactivity.Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?Jesús: Of course, I met any possible difficulties, I think, fixing textures, dealing with lightmap errors, when everything works, be unable to compile the project due to unknown Unreal memory things...Through one way or another, every issue has a solution. In my case, I had to research a lot, hours of YouTube tutorials that maybe not solve it directly, but it is related to the problems and so on, it is a hard way to learn things.. but somehow it works and I learned a lot during the process.Fox Renderfarm: How long have you been in the architectural visualization career? And how did you make the decision to step into this career?Jesús: I finished my studies as Architect when I was 23, then I directly started to work in an interior design company in a 3D team where I learned a lot and months later I moved to a studio of architecture being in charge of the whole visualization process for 3 years until now.I know that 3 and a half years doesn't sound like much But hey! They were intense!Artwork by JesúsFox Renderfarm: Who or what project inspires you most in this industry?Jesús: A friend showed me the Third and the Seventh (by Alex Roman) in the university, that was a mind-blowing moment and it look impossible to me, it was really inspiring.The Third and the Seventh by Alex RomanNowadays, I follow the work of all the top studios and artists around the world in the architectural field: Mike Golden, Cornelius Dämmrich, Quixel artist... and from Spain like the Beauty and THE BIT, Play-Time But also from other fields like cinema or video games like Jama Jurabaev or Nick Hiatt.ArchViz works by Beauty and THE BITArchViz works by Play-TimeI said some names that can be useful for the reader, but actually, there are hundreds of amazing not so renowned artists that I can see everyday at Artstation and they worth the time to learn from their work as much as from the biggest company.Fox Renderfarm: As an outstanding architectural visualization artist, what do you think are the qualities that will make a great artist greater? And what do you do to enhance your professional skills?Jesús: Oh wow, thank you! I think that not only as an artist, but in life, a good attitude, being constant, kind and humble with people around you is really important because you can probably learn something from everyone and it is the only way to do it.What I do is never stop learning and trying new workflows or software that can be useful, and transform that new knowledge into something as a little personal quest. For example, if I try Substance Painter: okay, let's create an asset and paint it to the end as a final product, or if I try a new render engine: well, let's create a good illustration or a little animation clip! I don't know if it sounds stupid, but it helps me during the process and later to look back and see what I could do with that tool or whatever.Artwork by Jesús Gómez San EmeterioFox Renderfarm: Whats your next step?Jesús: Well, I don't know much about steps, but in my experience, if you work hard to do what you like most, things happen one way or another, so that's my plan! Keep working and learning to become a better Architect and CG Artist every day.Fox Renderfarm: Have you ever used Fox Renderfarm cloud rendering services previously? If yes, how do you feel about it?Jesús: I had the opportunity to meet Fox Renderfarm at the CG Architect 3DAwards for the first time. I think that is a good option for 3D artists like me who work with one computer for rendering videos with the best quality and be able to keep working on other things. The communication with them is really nice too!Fox Renderfarm: Any other things you want to share with CG enthusiasts?Jesús: Have fun and do what you love to do!Artworks by Jesús Gómez San EmeterioMore Personal web page: https://www.jesusgomezarq.comInstagram: https://www.instagram.com/jg_architectArtstation: https://www.artstation.com/jesusarq


    Interview with Alvaro Arroyo, Creating a Melancholic Atmosphere in ArchViz

    Interview with Alvaro Arroyo, Creating a Melancholic Atmosphere in ArchViz

    2022-07-04

    Fox Talk

    3D Art Competitions

    Exclusive interview about 2019 ARCHITECTURAL 3D AWARDSAfter reading 2 interviews with the winner and nominee for the 2019 Architectural 3D Awards, you must have been amazed by their great ideas and persistence in their ArchViz career. Today, we go on our exploration in the creation of ArchViz by talking to Mr. Alvaro Arroyo, nominee for Student Image category.Alvaro ArroyoFrom: Spain3D ArtistSchool: School-ingCREDITS:School-ingAdán MartínEduardo RodríguezAll of the School-ing students3D CollectiveAlvaro’s work delivers a sense of melancholic atmosphere while the composition is with coherent layers. The moment he created this artwork, he was still a student, however, he has already stepped into the ArchViz industry and put his whole heart in it currently. Let’s read the interview to know more about the creation of the nominated work, and how he sees the shift in his life.Fox Renderfarm: Hi, Alvaro, would you please give a brief introduction about yourself?Alvaro: Hi, my name is Alvaro Arroyo Cerdá, a 27-year-old 3D Artist from Valencia (Spain). I´m an architect from the Polytechnic University of Valencia (UPV) and now I´m working full time in the architectural visualization industry.Polytechnic University of Valencia Fox Renderfarm: How do you feel about being nominated in The CGarchitect Architectural 3D Awards?Alvaro: It is definitely a great honour. Just the fact of having my work recognised in the world's most important awards of the industry is an amazing feeling. A few months ago I couldn't imagine all these things were going to happen.Fox Renderfarm: What’s your inspiration for this amazing project? Why did you select this artwork to participate in the competition?Alvaro: This image is part of a project that I was working on in the school, so besides this one, more images have been made. Each one has the architecture as the base, and then I tried to experiment (with) different moods for all of them, creating atmospheres that fit my purpose.Other 2 pictures for the same project In this artwork, I had the idea of creating a melancholic atmosphere where nature and modern architecture might get together. I added some women playing music inside the house just to emphasize that idea.Fox Renderfarm: Could you introduce the light design and the composition of this project?Alvaro: The light design is just based on a foggy HDRI, and I used the Vray environmental fog to mitigate the light and exposure of that HDRI. In terms of composition, I had a clear idea of having the house entry in the center of the image, and for that, the shape of the building was so helpful. I had the forest and nature on the foreground, just playing with its colours and wildness, and introduced those broken branches on the right to avoid a flat image. The road on the left was a great element to avoid it as well. Finally, I placed some forest on the background to make them disappear in the foggy day.Fox Renderfarm: How long did it take you to finish the work?Alvaro: Probably it took between two and three weeks to do that image, but it's hard to tell because it was part of a bigger project, so modeling the architecture and texturing were the longer parts.Clay render Fox Renderfarm: What’s the most unforgettable and interesting part of the creation process?Alvaro: Maybe the most interesting part was when I was trying to achieve the mood that I had in my head for this image. As I saw the first results, my idea was to place myself inside that environment to keep improving all the details and have a humid atmosphere like the one we have when just stopped raining.Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?Alvaro: Of course, I think is part of the process and in my case as a beginner, I had much more difficulties. The hardest part was to recreate a realistic wild forest because it was so close to the camera, and I solved it working a lot in the vegetation materials and placing the nature elements very carefully in the scene.Fox Renderfarm: How long have you been in the architectural visualization career? And how did you make the decision to step into this career?Alvaro: I have been actively learning from January of this current year, so just ten months. They have been really intense months as you can imagine. I made the decision when I realized that the part of the architectural work that made me happier was to visualize unbuilt architecture and where I can use more of my creativity.Fox Renderfarm: Who or what project inspires you most in this industry?Alvaro: Well, Adán Martín has been the real inspiration for me in this industry. In fact, studying and learning from him in School-ing has been the best decision I could have made to start in Archviz. Maybe Csaba Banati, Karim Moussa or Thomas Dubois are artists that inspire and motivate me because their creative mindset of facing new challenges representing the unbuilt is just awesome.Fox Renderfarm: As an outstanding architectural visualization artist, what do you think are the qualities that will make a great artist greater? And what do you do to enhance your professional skills?Alvaro: I think that in an industry like this, always changing, is so important to have a learning attitude towards everything. Use our creativity to solve our working problems will make an artist much better. In my short experience, I have been trying to make works where I can always learn some new things, to have my mind active.Fox Renderfarm: What’s your next step?Alvaro: As I said before, keep learning every day new techniques, new software and the best visualizer I can be to fulfill all my expectations that are coming. Now, I am focused on my new job as a Junior 3D Artist at Kilograph and that is where my mind is.Fox Renderfarm: Have you ever used Fox Renderfarm cloud rendering services previously? If yes, how do you feel about it?Alvaro: Not really because I didn't have the chance to use them because my short career in the Archviz industry, but definitely I´m going to do it from now on.Fox Renderfarm: Any other things you want to share with CG enthusiasts?Alvaro: Well, just encourage people that are starting in the industry, like me, to work with passion and determination to create great illustrations. I will be happy to keep meeting people of this industry because is always a pleasure for me to meet such talented people, so feel free to contact me on social media to share thoughts about our works. And finally, I hope you saw the rabbit in my image, did you?Alvaro’s Instagram @arc.alvaro


    Interview with Patrick Vogel, a Designer Thinking about How Futuristic Architecture to Save the Last Nature

    Interview with Patrick Vogel, a Designer Thinking about How Futuristic Architecture to Save the Last Nature

    2022-07-04

    Fox Talk

    Architectural Visualization

    Exclusive interview about 2019 ARCHITECTURAL 3D AWARDSWhat happens, if the ecosystem is going to collapse? How will architecture save the last few bits of nature? Patrick Vogel, a multidimensional designer and creative director, told us his answer through a futuristic 3D architectural work.Patrick VogelFrom: GermanyMultidimensional DesignerCompany: ALT/SHIFTThe Prophecy: Nominated work in Image (Non-commissioned) of CGarchitect 2019 ARCHITECTURAL 3D AWARDS Patrick Vogel spent 4-5 weeks to finish the creative work The Prophecy, which contrasts the world of the extinct to the world of the living through an architectural Utopia. By creating the image, he wants to point out that architectural visualization can be used for more than selling buildings. It rather can be a tool for portraying political, social and ecological problems, to gain attention and publicity.Patrick’s Work Patrick is a 3D designer in the field of visualization, animation, VR, and design &x26; art. With the background of the architect, he found his own 3D/Design studio ALT/SHIFT, an interdisciplinary design studio in Hamburg in 2016. Patrick and his team create high-end visualization, animation and high immersive VR-experiences, and keep their own unique style in creation. Their vision is to be the digital architects who create digital realities.ALT/SHIFT’s Work Here’s the interview between Patrick and Fox Renderfarm.Fox Renderfarm: Hi, Patrick, would you please give a brief introduction about yourself and your company?Patrick Vogel: My name is Patrick, I’m a 31-year-old dude from Hamburg City and the founder of ALT/SHIFT. I used to be an architect but hated that boring job. So the decision was clear in 2016: I have to start a 3D/Design Studio. We’re basically doing whatever we want. It just has to be creative. We’re mostly doing ArchViz, Motion Design, Branding and other weird stuff. We do what we love and we love what we do. Ah, I forgot the most important thing. I’m having ALT/SHIFT with my amazing wife Tanja.ALT/SHIFT’s WorkFox Renderfarm: How do you feel about being nominated in The CGarchitect Architectural 3D Awards?Patrick Vogel: I’m super blown away! Just amazing! I really didn’t expect that. Feels unreal.Fox Renderfarm: What’s your inspiration for this amazing project of The Prophecy? Why did you select this artwork to participate in the competition?Patrick Vogel: In general, I’m really interested in the whole climate change discussion and wanted to portray a sinister future scenario about this topic. As I’m doing a lot of ArchViz for commercial projects I am always asking myself if this kind of job is the right thing for contributing to society. The answer is no. We basically selling images that sell houses to people who can afford it. Don’t get me wrong, I love this job, but I was asking myself if it would be a cool idea to use the ArchViz-medium as something that communicates a modern problem. That was also the reason why I participated with that work: I wanted to tell a real story through ArchViz. Not a customer journey.Other 3D architectural works of PatrickFox Renderfarm: Could you introduce the lighting design of the project?Patrick Vogel: That was actually a tough one. I tested like hundreds of lighting setups and HDRIs to get the right “poisoned-world”-look. I didn’t know, what I was searching for and it literally took days to find the right mood.Fox Renderfarm: We discovered that this artwork is different than the commercial architectural visualization, why do you illustrate the future architecture in this way? Any ideas behind that?Patrick Vogel: Yes, like I said in one of the answers above: I tried to create something that communicates the climate change problem and shows a possible future, where there is no real nature anymore. Something that can happen. A world that we created for our children. Sounds really dramatic and emo, haha. But basically, that’s it.Fox Renderfarm: What’s the most unforgettable and interesting part of the creation process?Patrick Vogel: Staring for hours at the screen and being amazed and scared at the same time… And then realizing that this dystopian piece comes out of my head.Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?Patrick Vogel: I had huge trouble with finding the right light setup and I hope I solved it.Fox Renderfarm: ALT/SHIFT not only devotes to high-end architectural visualization but also dedicates to multidimensional visual communication like animation and VR, what’s your inspiration for this integration?Patrick Vogel: Oh yes, we’re doing a lot of different stuff. That’s what keeps us moving forward. We tend to always say YES. Because YES usually leads to way more fun then MAYBE or no. From branding to motion, fashion, cover art – we see ourselves as multidimensional designers with a strong foundation in 3D and CGI.ALT/SHIFT’s WorkFox Renderfarm: What’s the development vision for your company?Patrick Vogel: We want to create. It’s that simple. At the moment we realize, that we will be forced to grow a little bit – but we want to stay a weird and fancy boutique studio. MY nightmare would be, that I’m not creating stuff on my own anymore – instead just caring about employees, client needs and new business. If that means, that we will stay small and will never have a Lamborghini – I’m happy to pay that price. So the answer in general: We want to become one of the most creative boutique-agencies in the world.ALT/SHIFT’s WorkFox Renderfarm: Have you ever used Fox Renderfarm cloud rendering services previously? If yes, how do you feel about it?Patrick Vogel: Honestly, I never ever used a render farm in my whole career. But I guess, that will change now. And I also guess that Fox Renderfarm would be an amazing partner! So be prepared to welcome us as new customers!Fox Renderfarm: Any other things you want to share with CG enthusiasts?Patrick Vogel: Like Nike said: JUST DO IT. Don’t overthink things. Don’t overthink light, composition and so on. Just create CGI more based on how it feels. Not how it’s supposed to look – because somebody set some standards in look and feel.


    Shifting the Boundary of Physical and Virtual Worlds in 3D Art: Introducing Designer & Director, LIU Xin(1)

    Shifting the Boundary of Physical and Virtual Worlds in 3D Art: Introducing Designer & Director, LIU Xin(1)

    2022-07-04

    Fox Talk

    CGarchitect Architectural 3Dawards

    LIU XinDesigner/DirectorLIU Xin is a Designer and Director who works between architecture and time-based media. His practice centers around the influence of digital and physical on shifting the boundaries of the design of spaces and objects.He is currently freelancing. And in the beginning of March, 2021, he received admission to Harvard Graduate School of Design’s Master in Design Studies degree program. His collaborators include Burberry, Wallpaper*, NYLON, and Microsoft. He holds a Master of Architecture degree from Southern California Institute of Architecture (SCI-Arc) where he also worked as the teaching assistant for graduate and undergraduate courses, as well as a Bachelor of Arts in Architecture with Honors from the University of Liverpool where his graduation project was awarded the Sheppard Robson Jicwood Prize. Previously, he has worked at Testa &x26; Weiser in the U.S., Sheppard Robson in the U.K., and Tianhua in China.Burberry x Victor Ma x Microsoft AI - Runway 2.0 (Music Video)He is traveling around the world examining the notion of both natural and built environments, individual experiences, and emerging techniques.Phygital Shopping Cart © LIU Xin & Yuting ZhuWon the 2021 CGarchitect AwardsCaption:Phygital = Physical × DigitalPhygital Shopping Cart is the second episode of the Phygital Supermarket Trilogy.Shopping Cart Miniature ScenariosThe main character of the story is a shopping cart (or a trolley). In a shopping cart in a supermarket, we designed six miniature model scenarios, which can be organically combined in a shopping cart. Each miniature scene contains a miniature version shopping cart to tell a short story, and each scene embodies a technology or design method which we explored with Cinema 4D and Redshift Renderer. We selected the most familiar, unremarkable, and most overlooked object in life (that is, common daily necessities in supermarkets), and explored these familiar objects through a unique workflow we developed with Cinema 4D and Redshift rendering technology. Things were explored on the playful side, either enlarge the size or manipulate it with Effectors in order to take a look at what magical effects will burst out. Therefore, in each mini-model scene, in addition to the narrative of the story, a technique is also expressed. As we used the title sequence design as a format of the film, so we can use the text on the screen to introduce the story and design techniques of each scene.Phygital Shopping Cart is the second episode of the Phygital Supermarket Trilogy, the other 2 episodes are Three Supermarkets and Phygital Supermarket Worlds. Phygital Supermarket Trilogy explores multiple techniques and mediums, discovering the possibility of shopping space forms in urban life.Three Supermarkets© LIU Xin, Yuting Zhu, Jui-Cheng Hung, Fateme JalaliPhygital Supermarket Worlds© LIU Xin, Yuting ZhuLIU established his connection with CGarchitect Awards in 2019 for his nomination in the Student (Film) category. In the nominated artwork Augmented Library Aggregation, he selected objects like flowers and showerheads, and volume bashed them to depict a futuristic library space in the video.Augmented Library AggregationAugmented Library Aggregation© Xin Liu, Nero Hevolume bashingAfter experiencing all these fusions of physical and virtual space, you may wonder how LIU made his artworks, what’s more pivotal, how he has formed his design methodology and design language. In our interview with LIU, he reveals his workflow, techniques and design mindset, and explains his playful experiments in the creation process. Last but not least, his suggestion to CG enthusiasts that -- we should not only upgrade our technical skills with 3D software, and also improve our sense of art and aesthetic value -- resonates with what Fox Renderfarm has always insisted on -- Art Challenges Technology, whereas Technology Inspires Art.For detailed interview:Shifting the Boundary of Physical and Virtual Worlds in 3D Art: Introducing Designer &x26; Director, LIU Xin(2)


    Interview with Massimiliano Napoli, COO of Diorama: Diorama’s Aesthetic and Their Secrets behind the Post-pandemic Success

    Interview with Massimiliano Napoli, COO of Diorama: Diorama’s Aesthetic and Their Secrets behind the Post-pandemic Success

    2022-07-04

    Fox Talk

    Architectural Visualization

    Massimiliano NapoliCOO & Head of Still Images Department DioramaPosters of Diorama’s Award-winning ShortsAnother good news I cant wait to share with our audience is that Diorama is looking for teammates who can join them in a universe where everything is possible. If you are also touched by their amazing projects and share the same pursuit of excellence, dont hesitate to check the open positions: https://diorama.eu/jobs.php© DioramaInterview with Massimiliano NapoliFox Renderfarm: Hi Mr Massimiliano! Thank you and Diorama so much for accepting our interview again! Could you briefly introduce yourself and Diorama?Massi: I’m Massi and at the moment I’m the COO and the Head of Still Images Department at Diorama. We are a 3D Production Company based between Milan and Paris, but nowadays we are becoming more and more of a cloud company with collaborators all over the world.© DioramaFox Renderfarm: Diorama has progressed a lot, now you’ve set foot in the fashion and design industry. Could you share with us how Diorama has grown since 2019?Massi: That’s true! Last time we had an interview together we were still rooted in the Architectural Visualization world, and we were in a peculiar moment of our story when we were starting to dip our toes in other industries. Today we have a lot of ongoing projects related to different businesses, from art to design, from fashion to cinema. We grew a lot during the pandemic as we could guarantee to our clients a structured remote team, able to work and perform from anywhere in the globe.Diorama x Bureau Betak for FendiDiorama x Bureau Betak for ChanelDiorama x Bureau Betak for DiorDiorama x Bureau Betak for Saint Laurent Diorama x Studio Milo for Tubes RadiatoriFox Renderfarm: How is the pipeline of your production of still images and films respectively?Massi: You didn’t mention that it would be a 5 hours’ talk! Jokes apart, the idea that revolutionized our workflow and our pipeline was to take inspiration from the big cinema productions. We tend as much as possible to divide a project in small segments which correspond to specific functions. Modeling, texturing, lighting and shading, post production, client management, IT support: those are separated tasks, done by specific teams made of people who love what they do.Fox Renderfarm: Congrats on the award-winning short films, these 3 shorts are breathtakingly beautiful and photorealistic. Do these 3 shorts have some connection on the theme? Could you share the idea behind them a bit?Massi: The Moon Codex is an ident video produced to express a critical thinking between an architect and a designer who were starting the collaboration. It all transforms to architecture and design in a certain way. The video is a short story on how the moon appeared in the universe, floating around Earth and having on it an enormous influence, which means life, culture and architecture.The Moon CodexTempo d'acqua has been created for a discussion around the theme of sustainability for the Pisa Architecture Biennale. We had a fictional concept of traveling through different time frames where the Pisa tower was deep in the water two thousand years ago. There are many historical documents stating that the seashore moved 2km on the west, which means that fictive Pisa will once again be in the water as according to the scientific researches. It's a circle that never ends, and makes us think about the relationship of land-water-architecture.Tempo d’AcquaEquilibrium, presented at La Biennale di Venezia, is the conclusive piece of the trilogy and aims to stimulate critical thinking about space and architecture. On the other hand, it has the intention to tell more about equality between objects in space, taking yet again a fictitious example of spatial equation between the earth, the moon and the water as a meaning of life.EquilibriumFox Renderfarm: In Equilibrium, there are tons of landscape elements, like rocks and mountains, lakes and rivers, forest, snow, and so forth. What’s the secret behind their realness?Massi: Equilibrium is full CGI video, entirely created in 3D. The way of achieving realism are emotions. It is a very specific approach that all CG artists understand, once they achieve the look they were looking for. The realism doesn't come with realistic textures, but the feeling of mood and story behind the scene. Since Equilibrium had a deep thinking behind the curtains, we went further with simplicity. All those scenes are extremely simple in the sense of CG work; just a couple of animated planes, some of them were created in 2D compositing with a couple of animated layers, but they were all effective.Water plays a very important role in Diorama’s artworks, did you meet any difficulty in simulating and rendering water? How did you solve these problems?Massi: Water is a very important feature in our studio. We are constantly working on looks and better integration of water in our scenes. In Tempo d'acqua there are some scenes which took over a year to simulate, but they never emerged in the video. I guess one day we will publish them. Regarding simulations, I think that the liquid simulations are those which require the most time and resources. When it comes to water simulations, we tend to use Houdini. Most of our tools are custom made especially because the look doesn't come just out from the shell, in the drag-and-drop manner. It takes time to do multiple iterations, so the approach is usually to avoid tweaking parts of the simulation which could influence extreme simulation time dependence.Fox Renderfarm: LIGHTFORLIFE shows Diorama’s profound insight and high level competence in handling textures. Could you respectively break down how you achieved the organic texture on the ice surface, the bokeh around the leaves, and smooth demonstration of the snakeskin-like texture?Massi: The secret behind the look of the leaves is in making a very high focal length like macro photos, which creates this dynamic bokeh of reflections in the background. In this shot, we also had the intention to reach the look of an anamorphic lens by changing bokeh ration to something close to 0.7.Regarding the snake it is just a sweep object which rotates in multiple directions to achieve the organic look. Moreover the displacement texture that goes over is also animated to move in order to achieve the look of a living being.Metal reflections provide this important fill light from the side that brings attention to the shape and smoothness.Fox Renderfarm: Diorama is so good at using wide angles to show grand views, while using close up to demonstrate details. Do you have any specific advice on the lighting design of these two aspects?Massi: Understanding light is the key of a successful shot, both in still and in motion. Camera position, or it’s movement and lighting are elements that cannot be treated separately. Those are subsequent. Lighting shapes the geometry and the elements and can be mysterious or revealing just by changing a small parameter, and of course is a strong tool to drive the eye of the viewer. If you always tackle them as a duo, you can easily create amazing shots and have basically the power of showcasing the subject in it’s best version.The Moon Codex © DioramaLIGHTFORLIFE © DioramaFox Renderfarm: How did Diorama set the tone of its visual language and keep it coherent and consistent along the way?Massi: You know, to be honest we tend to think that we are a heterogeneous company, when it comes to visual tone. We have such great artists, directing and producing, that it is really easy for us to get lost in their mood, their ideas and exploration, and this is in my opinion one of the keys to our success.The freedom to explore. We do not want to be such a company that produces always the same visuals, with the same style, both clients (the good ones) and the team influence our production a lot. When looking at new artists, almost unconsciously, we are approached and we look to a kindred spirit that in some ways have something in common with our general vision about art, and this job. Guess that’s our secret.© DioramaFox Renderfarm: Technically and management-wise, did Diorama do anything to optimize the efficiency in production?Massi: We started to implement the management team in an early stage, around 2017. We needed to have a lean and flexible art team, leaving to the artists the freedom to spend time doing what they like. We don’t want our collaborators to waste time answering emails or struggling with skill sets which they do not have and are not interested in.Diorama x Atelier(s) Alfonso FemiaFox Renderfarm: How did you encounter CG? Could you share your educational and career experience with us?Massi: As for some of my fields, my roots are in Architecture. I’ve studied Architecture in Florence, and in 2013 I moved to France for my Erasmus. That’s where I discovered this work called visualizer, or perspectiviste, as they call it in France. I got hooked and I started looking into that. After coming back to Italy and taking my degree, I spent one year in Poland. I worked for a small company where I spent great days improving as a post producer and moving my first steps in 3D. In 2016 I met Gilberto, CEO of Diorama, together with Gianni, our actual CFO; they were starting their own company between Paris and Milan. At that time Diorama didn’t even exist, it was just a few chairs and four artists; Uros was one of them, and I became the fifth. From that day we had a lot of fun together and we grew bigger until now, with about 30 people gravitating around the Diorama ecosystem.Fox Renderfarm: In your opinion, what are the qualities that make a good 3D artist better?Massi: Exploration and research. We are kind of artists/professionals who are tasked with depicting a different reality every single day. The challenge can one day be a room, the day after a space colony and the next one an underwater shot. Exploring techniques, new forms of art, new softwares, and new media must be a constant in our work. Picasso used to say that good artists copy, great artists steal. That’s my constant mantra. Looking into other people’s work, select some interesting elements, digest them and incorporate them into my own.Diorama x Pascual ArchitecteFox Renderfarm: Any artist or artwork that inspires you the most?Massi: The list risks to be really long, as per I personally find such new great artists every day and I love to explore how their mind works. As you may see, Diorama aesthetic tend to detach from the 3D feel, looking more into an artistic and minimal way of picturing things.I know for sure that me and Uros, and our team in general, are big fans of Ash Thorp; his cinematic look is what drives most of our research. What I personally tend to do is to look a lot into other media. I should mention Raphael Lacoste, great concept artist, art director and friend, who drove my entire career as an artist as a constant source of inspiration.CG & Design by Ash Thorp© Raphael LacosteFox Renderfarm: Do you have any career advice to the newbies in the CG industry? And what did you do to improve your technique skills and aesthetic sense?Massi: This actually connects to your previous question. Even after years of experience you must in some ways consider yourself as a newbie if you do not want to stop growing and learning. This spirit is a constant approach for Diorama. For people who approach image production in CG, my best advice is to look into photography and filmmaking. Do not get inspired by CG when doing CG: you can easily get stuck in someone else's style, and the goal for someone starting should be to find their own. Photographers are an important part of the moodboard we build in the Image Department for each project. I tend to oblige the team to propose photos more than other renders as a source of inspiration (I would also love clients to do that!).© DioramaFox Renderfarm: How do you feel about the cloud rendering services of Fox Renderfarm?Massi: Amazing, what else can we say about it! You guys rock, what's the secret of the kindness of your support at 3 AM? Jokes apart, we couldn’t be able to be so on time and productive without Fox, you are almost part of the team at the moment, and we are so glad to have this great relationship!Fox Renderfarm: Any other things you want to share with the CG enthusiasts?Massi: Do not spend too much time on social media; Canaletto didn’t have one and was doing great things. Use them for sharing kitties or barbecue, or the ugly sweater your aunt gave you for Christmas. But do not get in the loop of producing art just to follow an algorithm. Be driven by passion, do what you like, when you like. If it is personal work, spend all the time you want on it, show it to your friends and to people who can really give an honest opinion about it. If it is commercial, push your client and yourself beyond the limits and try to do the best before the deadline hits…I guess Fox Renderfarm can help you a lot with that!


    How Rao Jinyu, SCI-Arc Graduate Integrates Children's Psychology with Architecture to Create Her Unique ArchViz Project in C4D

    How Rao Jinyu, SCI-Arc Graduate Integrates Children's Psychology with Architecture to Create Her Unique ArchViz Project in C4D

    2021-11-30

    Trending

    Architectural Visualization

    Rao JinyuArchitectFrom: ChinaMaster of Architecture II, SCI-ArcBachelor of Architecture, Shanghai UniversityUnlike the conventional architecture we generally see which is solid and cold, the architectural artworks by Rao are of bright colors and soft materials. You will always find some surprising objects in her projects, such as stuffed toys, inflating balloons, or scattering flower petals. From the objects she chose to her unique design language, audiences can easily sense femininity, a romantic atmosphere, and a sense of comfort.Grow Back to the Eden © Ran Jinyu (Rao’s Undergraduate Thesis) In fact, the younger brother of Rao has suffered from manic depression for a long time. She always accompanied her brother to do the therapy. In the meantime, her interest in children’s psychology grew, and she hopes to help them through her architectural design. From Grow Back to the Eden, her undergraduate thesis to Soft Architecture, her graduate thesis, she gradually explores and researches the possibility of the environment of the institutions for children’s psychotherapy.Soft Architecture Animation In our interview, Rao shared her inspirations, pipeline, and other ArchViz production details with us. Moreover, she discussed the differences between the learning methods for Architecture in China and America, artists who inspire her, and her empathy and care for children’s psychology.Exclusive interview with Jinyu Rao Fox Renderfarm: Hi Jinyu, thank you so much for accepting our interview! Could you briefly introduce yourself?Rao: My name is Rao Jinyu. I would like to perceive the world sensitively from a female's perspective, and my architecture design is my inner monologue to the outside world.Fox Renderfarm: How did you constantly form your colorful and romantic design language?Rao: I learned children's painting when I was a child. The colors of children's images are very bright and vivid, which improves my sense of colors and cultivates my aesthetic appreciation. I am a sensitive and emotional person, at the same time, I am quiet and introverted, so I hope to express my feelings with vivid colors and by creating a romantic atmosphere. I may be a pessimistic person, but when creating, I prefer to use bright colors. I like to design romantic things to express my inner expectations and things that will make people happy. My work is a reflection of what is in my mind.Soft Architecture Student: Jinyu RaoAdvisor: Florencia PitaPre Advisor: Jackilin BloomCultural Agents: Jasmine BenyaminFox Renderfarm: What is the inspiration of Soft Architecture?Rao: This is my Graduate Thesis. I designed it as a children's psychological counseling center. There is an institution in the United States called Children's Institute, a children's psychotherapy institution. I want to put my soft building in the middle of its courtyard, which is a reconstruction program. The target audience of soft architecture is children, who like to play in giant inflatable installation toys that are soft. Soft objects are more attractive to children, and they can help children improve their mental health.Soft Architecture Front & Back Render Location Fox Renderfarm: What are the references for Soft Architecture?Rao: Harry Harlow's Monkey Love Experiments - I learned about this experiment while I was doing my undergraduate thesis. It concludes that softness can substitute for the love provided by the primates’ parents to their children. So I chose to achieve psychological healing by making the buildings soft.Cute Aesthetics - This inspiration comes from the article "The Cuteness of the Avant-Garde". It reckons that soft materials can be more easily shaped according to humans’ affective demands. That means pinching in different places of soft materials can get desired deformations. From this point of view, soft things interact with people, and it responds to a human’s psychological needs, unlike a cold wall which is unable to provide any response. So I infer that soft touches are helpful for psychological healing.Fox Renderfarm: Why did you add Yoshitomo Nara’s painting of children in your artwork?Rao: The protagonists of Yoshitomo Nara's paintings are all little girls. From the expressions of these girls, you can see the helplessness of the children. Children may understand everything that happens in the adults’ world and they need care and love. Maybe they don't like the way their parents regulate them, but they can only express it through helpless expressions.Fox Renderfarm: What is the inspiration of Wearable Architecture?Rao: When the COVID-19 epidemic outbreak just began, the instructor of my work - Hernán Díaz Alonso, CEO of our school, showed us a video of a music festival. Everyone who participated in the music festival was in a balloon which also became a kind of isolation.The Flaming Lips - Assassins of Youth Live Show Fox Renderfarm: Could you share with us the different forms and functions of Soft Architecture?Wearable Architecture Rao: Wearable Architecture is mainly a balloon.Clothes - When the balloon is deflated, it can be used as clothes with beautiful pleats.Architecture - When the balloon is inflated, it becomes a big space that can shelter people. It can float in the air, water, etc. It can turn each Ferris wheel carriage into a room and renew the abandoned amusement facilities when it is inflated.Landscape - The surface of the balloon is a hydroponic system that can absorb the smog in the air and turn it into plant food. The plants will be scattered on the ground after the explosion to renew the abandoned amusement park/city and become a landscape system.Fox Renderfarm: What is the reference for the material of Wearable Architecture?Rao: I saw 2 photos. The creator pours oil paints of different colors together. The green and pink paints slowly blend together and form the beautiful transition effects on their verges. The pictures are taken at that very moment. When I was creating Wearable Architecture, I considered the permeability and sealing of the building. And I also needed to assess the position of windows and walls, so some parts were simulated as translucent gel material. I made the darker parts transparent, such as the parts in pink, brick red, mint green and so forth. In this way, the open part of the building is very organic, stretching along the boundaries between different colors.Fox Renderfarm: What software and plugins did you use for Wearable Architecture?Rao: Cinema 4D + Octane renderer. And I’ve used a lot of dynamic simulations in C4D.Cloth Simulation - for the pleats and soft parts of the cloths.Soft body- for the inflating/inflated balloons.X-Particles - It is used to make the scattering effect of blooming flowers after the explosion. Each flower is a particle, so it can be made with the particle simulator.Fox Renderfarm: How did you encounter CG?Rao: When I first entered the Southern California Institute of Architecture (SCI-Arc), it was the Graduate Thesis Exhibition. I found that 70% of the artworks in the exhibition contain animation. I never thought about using animation to present architecture before. Still, I found animation a very powerful medium, since it can be made as movies and TV series, and it is also a very good way to demonstrate architecture.Fox Renderfarm: What is the main difference between the learning methods for Architecture in China and America?Rao: Architecture education in China pays more attention to basic knowledge. It mostly discusses architecture itself and has fewer connections with other disciplines. In the past, when I was taking my undergraduate in China, I often had to produce an A1 big picture with a lot of architectural analysis drawings: site analysis, landscape analysis, architectural function analysis, and conceptual analysis... On the one hand, it can lay a solid foundation for students. On the other hand, it can make them think more clearly.While the learning methods abroad will be more straightforward. I haven't drawn any analysis charts since I came to the United States. Whereas, here they pay more attention to architectural expression. It is no longer necessary to produce densely packed pictures or read pictures but more to intuitively observe and feel the architecture itself.I have always wanted to design children's psychotherapy spaces. My undergraduate thesis, "Grow back to the Eden" is also a children's psychotherapy center. There are many tiny houses on a mountain. The architectural methods are adopted based on the residential relations between parents and children at different stages in order to solve the problems of children’s psychology.Grow Back to the Eden When I got to graduate school, I used a more simple and straightforward method - I directly made the building soft. Nevertheless, I wouldn’t make it that way in my undergraduate studies, and I don’t think it is feasible for me to do so at that time.Fox Renderfarm: Any artist or artwork inspires you the most?Rao: First of all, the mentor of Wearable Architecture, my principal, Mr. Hernán Díaz Alonso. He has a great influence on me in many aspects such as my speculative logic.National Museum of World Writing © Hernán Díaz Alonso Also, Wang &x26; Söderström, they focus on the digital representation of physical materials, which is called Phygital Materiality.IDENTS © WANG & SÖDERSTRÖM And I particularly like Gaudí's buildings. His buildings’ shapes are round, mellow, and very colorful.Casa Milà © Antoni Gaudí Casa Batllo © Antoni Gaudí Sagrada Familia © Antoni Gaudí Fox Renderfarm: Any other things you want to share with the CG enthusiasts?Rao: CG is a very cutting-edge and emerging way to present architecture, and it will have a huge market in China and will be constantly growing. Like Wang &x26; Söderström that I mentioned earlier, they all make digital materials and express architecture in new media. It has great potential in the crossover expression of architecture. For CG enthusiasts, there is a lot to explore. Architecture can be linked with many fields to make fascinating effects. Just like what you can see in this 4C Architecture and Design Creativity Exhibition.4C Architecture and Design Creativity Exhibition in Shanghai Rao’s contact:Email: lianjunshui@outlook.comLinkedIn: www.linkedin.com/in/jinyurao Portfolio: https://issuu.com/raojinny/docs/portfolio_issue WeChat:lianjunshui INS: raojinny


    How to Build the Garden of Damocles in 3ds Max

    How to Build the Garden of Damocles in 3ds Max

    2021-06-21

    Fox Talk

    CGarchitect Architectural 3Dawards

    Csaba BanatiFreelance IllustratorFrom: AustriaFox Renderfarm: Hi Csaba, could you give us a brief introduction about yourself?Csaba: Hi all, I'm Csaba Banati - working as a freelance illustrator currently from the city of Vienna, Austria.I've been working in the industry for about 8-9 years now. Originally I have a degree in architecture but never worked as an architect. Instead I focused on architectural illustrations and jumped right into it after getting my diploma.Save Energy! © Csaba BanatiFox Renderfarm: Congratulations on being nominated in the 2020 CGarchitect Architectural 3D Awards, how do you feel about it?Csaba: I'm feeling proud and lucky! I got nominated despite the fact that the non-commissioned category is super-duper tough every single year. People are getting better and better so it's a tough competition.Also I'm super proud of the fact that this was my 3rd nomination in a row. I hope one day I'll win :)Fox Renderfarm: What's your inspiration for the amazing work “Garden of Damocles”? Why did you select this artwork to participate in the competition?Csaba: Everything started with a simple idea to investigate my feelings about courtyards. I've always found these spaces intriguing but I never really figured out why.During the process, I contemplated this idea and one thing led to another and this happened.For me, it was obvious to choose this image. It's a bit special to me for the above-mentioned reason and also I pushed myself hard on this project. Was curious how it would end up against this tough competition.Fox Renderfarm: The work shows like an allegory of the future world, what do you want to express through the work?Csaba: For me, it is always just mildly interesting what the artist wants to say. The beauty of art is that it can and will mean different things to different people based on their past experiences.I truly believe that as soon as an art piece is out it's not up to the artist to decide what it is about. People will judge and interpret before you could even say a word.But that's the beauty of it and I find it amazing.Fox Renderfarm: The sculptures and nuclear bombs in the picture are very realistic and attractive. Could you tell me how you made them (including the model and textures)?Csaba: This is probably disappointing but it's basic box modelling. :)I looked up real-life references to model them from scratch and in some cases used free 3D models as a base to further modify them.For texturing I'm really lazy so I usually try to avoid unwrapping at any cost. :)So every model got procedural or simple plane projected material.Final scene and bomb model Empty courtyard model Final iteration of cover model Fox Renderfarm: How long did it take you to finish the project? Did you meet any difficulties?Csaba: I believe it was about 2 months but to be fair I didn't work on it every single day. At times I didn't even touch it for days. I like to let projects mature a bit so that I can have a bit more objective view on them.The main difficulty was that I tried to push my boundaries in terms of 3D details. To embrace this fact I wanted to finish it in super high resolution but my PC was not really happy with it, so I had to settle at 7000x5600.Fox Renderfarm: How long have you been in the visualization field? Who inspires you most in this industry?Csaba: About 8-9 years now. There are a few companies that I can truly appreciate for their high rate of good consistency they can produce. But for inspiration I like to look outside from the ArchViz box and keep an eye on other creative fields. Such as photography, cinematography, music industry, etc.Fox Renderfarm: As an outstanding CG artist and Illustrator, what do you do to enhance your professional skills?Csaba: For me, it's extremely important to do various things outside of ArchViz. It's easy to immerse yourself in the awesome world of 3D and architecture but the circle closes fast and you can find yourself running the same lap over and over again.It's good to step back a bit and learn new skills in other areas then go back to ArchViz and try to apply them there.It's also useful to prevent burnout and stay fresh and motivated.Echo Lake © Csaba Banati Windy Meadows © Csaba Banati ArtstationLinkedIn


    How To Tell A Post-apocalyptic Lonely Story With Architectural Rendering

    How To Tell A Post-apocalyptic Lonely Story With Architectural Rendering

    2021-06-01

    Fox Talk

    CGarchitect Architectural 3Dawards

    SketchFox Renderfarm: How long did it take you to finish the work?Christian: For the final work, it took me about 3 weeks from the moment I started to recompile references until I finished, working in the free time between class and class.Fox Renderfarm: The isolated bunkers in your work are very industrial and futuristic, any reference? Could you tell us how you built them?Christian: The reference images were the oil platforms that are in the sea, these impressive structures in the middle of nowhere have always caught my attention and how lonely it can be to live there, that helps to create many stories.ReferenceModel CaptureFox Renderfarm: The gloomy weather and the dropping man make people feeling sad and thought-provoking, what do you want to express through this work?Christian: It's the story of a man who tries to escape from a desolate place, cannot endure the idea of being in that place and looks for a way out no matter how risky it may be.Fox Renderfarm: Did you meet any difficulties when creating this work? And how did you solve it?Christian: At the beginning it was difficult to generate the idea of the structures, I made some previous models but they did not convince me at all, sometimes it is difficult to conclude a personal project because you do not know when to stop, you always want to put more and more details but the registration deadline to the 3D Awards helped me define the final proposal.Fox Renderfarm: Who or what project inspires you most in this industry?Christian: There are several CG artists that I like whose works among them are Jaime Jasso, Jama Jurabaev, Tamas Medve and the list is very long.Lost Temple City © Jaime JassoWild West Unreal engine pack © Jama JurabaevGallery in Warsaw © Tamas MedveFox Renderfarm: Have you ever heard of or used Fox Renderfarm cloud rendering services previously? If yes, how do you feel about it?Christian: I had heard about Fox Renderfarm from some friends who had recommended it to me, I think it is a good service and I have heard good comments about the way of working and the platform.Fox Renderfarm: Any other things you want to share with the CG enthusiasts?Christian: I would tell them that they participate in the contest, it is a good way to show your ideas and put yourself to the test with your skills and continue learning from the other participants.© Christian Paul EspinozaInstagram


    LITH: A Decentralized Publicly Owned Platform to Solve Housing Problems in Gentrification Neighborhood: Introducing Young But Talented Architect, Razan Jawad

    LITH: A Decentralized Publicly Owned Platform to Solve Housing Problems in Gentrification Neighborhood: Introducing Young But Talented Architect, Razan Jawad

    2021-05-18

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    Architectural Visualization

    Razan JawadArchitectFrom: Republic of LebanonFox Renderfarm: Could you give us a brief introduction about yourself?Razan: My name is Razan Jawad, I’m originally Lebanese, born and raised in Antwerp, Belgium. I’ve been passionate about architecture from the age of 15 and it has only increased as I have grown.I have worked in Lebanon and Belgium as an Intern and an Assistant Architect. At the age of 19, I had just finished from the Architectural High school in Antwerp and thus, my life as an architect began, designing stores within the new center that was being built in Centro Ovale Chiasso, at the Swiss Italian border. 70% of my proposed design integration for the H&x26;M and Apple stores were adopted by the clients.Centro Ovale ChiassoAfter moving to Lebanon, my determination, learnings and previous work experience landed me on several job opportunities as an Assistant Architect which was done in parallel to my university education. In June 2018 I graduated from ALBA with a Bachelor of Science degree in Architecture and to further enhance my studies I attended UCL in London where I completed my master’s degree in architectural design.Being a freelance architect, I’m currently working on three different projects that are based in Sierra Leone, Lebanon and Congo which led me to open up a startup studio. The project in Lebanon is a residential villa for a private client and the 2 projects in Africa are huge commercial projects.Fox Renderfarm: How do you feel about being nominated for the CGarchitect Architectural 3D Awards?Razan: It feels great to get recognition for the amount of hard work that goes into realizing any architectural project academic or otherwise.Fox Renderfarm: What inspired you to create the amazing project? Any ideas behind the name “LITH”?Razan: LITH is the culmination of a year of architectural research, It is a amalgamation of philosophies of discrete architecture (a digital combinatorial design theory by Gilles Retsin), a mix of neo-Brutalism and gothic inspirations backed with social theories for cohousing communities. Gilles RetsinDirector at Gilles Retsin ArchitectureFormer Lecturer, Bartlett School of Architecture, UCLDiscrete: Reappraising the Digital in Architecture by Gilles RetsinFox Renderfarm: Could you introduce the core idea of the film and what kind of concepts do you want to convey through it? The building you design in the film is unique and futuristic, could you introduce the function of it and how you create it?Razan: The buildings in the film are actually a system of buildings rather than an individual building. It is a platform enabled co-housing community.Key concept:LITH stems from the idea that housing is a fundamental human right, while ownership of property is not. Along with the housing crisis, Gentrification adversely affects at-risk communities in neighborhoods. In Hackney, which hosts one of the largest artistic communities in the United Kingdom, artists and residents now face the same issues as many of the flats, and warehouse studios they inhabit have become too expensive for them, to continue to live and work there.HackneyMain functions:LITH is a decentralized publicly owned platform for space sharing enabled by a localized fused deposition modelling printing farm, it is aimed towards decommodification of gentrified neighborhoods and to provide affordable long-term homes for at-risk members of the community and to provide a platform to artists and artisan being displaced due to gentrification.The automated LITH printing farm works tirelessly around the clock for the production of serialized 3D printed formworks which can be cast incrementally to generate architectural structures. The printing factory continues to be an integral part of the LITH ecosystem after the construction process, and residents and artists can access the 3D printing farm to produce furniture, goods and art.The LITH platform can respond to a variety of typologies depending upon the urban conditions, user requirements and varying design briefs. The same localized LITH printing farm can generate various housing communities within a neighborhood. Each housing can have an entirely different underlying functional program and spatial configuration. The generations also respond flexibly to any 3-dimensional boundary constraints.Within LITH, spaces are divided as shared, semi-shared and private. Where semi-shared spaces are shared by residents of the housing, while shared spaces can be utilized by other members of the community as well. Residents and artists can access these shared spaces by booking them through the LITH space sharing platform. Light-based visual cues let the users know if a space is available, being utilized or can be shared. Large public lofts function as shared spaces, which can be utilized by local artists as studio spaces and workshops. The artist can either purchase a subscription to these spaces or occupy them by booking them through the LITH platform.Fox Renderfarm: How long did it take you to finish the film?Razan: The whole project was a culmination of a year long research into 3D Printing, platform based generative architecture, algorithmic design and discrete architecture. The movie itself took over 2 months to make from the initial storyboard to the modelling of the actual building and then the final render.Fox Renderfarm: In this project, what software and plugins did you use? And do you use any new creative approaches to make the project better?Razan: The generation of the building geometry is a combination of rhino3d + grasshopper and Unity + C algorithms. The animation was carried out entirely on 3ds Max and rendered with V-Ray.Fox Renderfarm: How long have you been in the architectural visualization career? Could you share with us your education and career experience?Razan: Being at UCL was a life changer especially having conducted a bachelor’s degree in the Middle East to the “Western Content” from constant learning of new software to fabrication. During my whole architecture degree using 3d visualization was always part of my academic work, but my experience at The Bartlett encouraged me to explore newer software, whereby I was fortunate enough to have an amazing instructor who encouraged me to apply to the 3D Awards at CGarchitects.Fox Renderfarm: As an outstanding young architect, what do you do to enhance your professional skills?Razan: I make sure I’m up to date with the digital world by watching lectures and documentaries about new architectural technologies.


    Interview with Alejandro Creo Rodríguez, Our Beloved Client and Founder of the3DCube

    Interview with Alejandro Creo Rodríguez, Our Beloved Client and Founder of the3DCube

    2021-05-13

    Fox Talk

    Architectural Visualization

    Cartoon Fossils © Filip HodasRonen BekermanCo-founder/Manager The CraftMad hatter © Juan Siquier© Lemons Bucket© Berga & GonzálezFox Renderfarm: As a freelancer, how do you keep yourself motivated and productive? And what do you do to enhance your artistic sense and professional skills constantly?Mr. Alejandro Creo Rodríguez: I love my work and lifestyle, and that is my main motivation. Life and work without a boss and restricted timetables are the best. Daily, I check 3D forums (from Facebook ) where other artists are talking about new features of software and plugins, and showing their works, and asking questions…..that is my form to stay always on the way ;)© Alejandro Creo RodriguezFox Renderfarm: Could you share with us your creative workflow?Mr. Alejandro Creo Rodríguez: It is simple…. I only need to study the project to know what is more important to show in the rooms or zones in the renders. Then, I need to know the materials and I look for reference images from google or magazines, to have an example of materials, illuminations and perspectives. After all the work is tested, I will adapt the camera and the lights and configure the materials.Fox Renderfarm: What’s your proudest or most unforgettable work? Any difficulty you met when making it?Mr. Alejandro Creo Rodríguez: Wow...it is difficult to choose..I think that a reform restaurant from the center of Madrid. It was one of the first jobs that I’ve done, and the responsibility was big for me. Finding the best lighting for space was a big difficulty on that project. Finally, the result was very satisfactory. In fact, I have the comparative images from reality vs render ;)Comparative renderWe can always find fine-balanced lighting, colors and details in your photorealistic artworks. Could you use an example to elaborate on the details about how you made them well?Having reference images from google is always necessary (for example) to see the materials and the details. I never make the materials from memory, always seeing reference images.© Alejandro Creo RodriguezFox Renderfarm: You’ve also integrated interactive methods, such as VR, with ArchViz, how do you feel about it? Any future plans to adopt them more in your projects?Mr. Alejandro Creo Rodríguez: Yes, I think interactive methods are the future for the ArchViz jobs. The clients want interaction and dynamism. At this time, clients sometimes don't want to visit the projects personally, they prefer to make a virtual visit from their homes. Now I’m making static images, virtual visits on 360 images and video animation, but I would like to make Unreal Engine works in the future, that they have a lot of dynamism on the projects.Loft 3d 360 VR Virtual Tour © Alejandro Creo RodriguezFox Renderfarm: Could you tell us how you got involved in the Casa Decor Madrid 2017 exhibition?Mr. Alejandro Creo Rodríguez: Yes, it was a very proud work, because to know that your renders were shown at an exhibition is very motivating. An interior artist from Madrid contacted me (she was the same artist that contacted me on Madrid´s reform restaurant project) and she said to me what she wanted to do, and showed me the photographs from the room.© Alejandro Creo RodriguezFox Renderfarm: How do you feel about the ArchViz industry in Spain?Mr. Alejandro Creo Rodríguez: Things are more complicated in the last year. because now the economy is not at its best moment. Another thing is now we have more artists than some years ago, and now with the news configurations from the render engines that are very easy, all the artists have good jobs.Fox Renderfarm: How do you like Fox Renderfarm’s rendering services?Mr. Alejandro Creo Rodríguez: For me, Fox Renderfarm is a very important tool for my job. Without working with Fox Renderfarm, I need a home render farm to have the final renders prepared to send on time, and it will cost a lot of money on computers and hardware.Fox Renderfarm: Any other things you want to share with CG enthusiasts?Mr. Alejandro Creo Rodríguez: Thank you for the interview. Thanks to the people who are making video tutorials and tips because they make my life easier :) If you want, you can follow my works on Instagram @_the3dcube. And finally…….LONG LIVE ARCHVIZ!!! Love, peace and rock n roll.© Alejandro Creo RodriguezInstagram


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