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Easy-to-follow guides take you from concept to the final render Artist info Viktor Fretyán Username: Radic Personal portfolio site radicjoe.cgsociety.org Country Hungary Hardware used Intel Core 2 q9550, 8GB RAM Intel i7-860, 8GB RAM Expertise I mainly work on architectural visualisations Software used in this piece Materials, lighting 3ds Max Photoshop After Effects V-Ray 164
Architecture Step by step: Texturing and lighting architecture Normafa House 2009 It’s an interesting challenge to make an image that shows off a building’s interior and exterior Viktor Fretyán has experimented with 3D art since school and specialises in architectural visualisation T his image is part of a set of renders on a detached house in Budapest, Hungary. It is designed by Satoshi Okada and is under construction at the moment. Since this was an assignment, it means I had a deadline and had to follow certain requests and guidelines. Consequently, the end result was not satisfying enough for my taste and I decided to make my own version of the rendering. In this tutorial, I will explain how the materials for the surfaces were applied and how the lighting was set up. I think it is always an interesting challenge to make a successful image of a place that shows off both an interior and exterior at the same time. The composition, the lighting and the materials are quite dramatic. I’m looking for this kind of drama in most of my work. I love to play with light and shadow, as well as with the colour of the light. Design inspirations The style for the scene Satoshi Okada is a Japanese architect 01 who designed the Forest Refuge known by almost everyone thanks to Alex Roman’s interpretation. I was really excited when I got the chance to work on his new design. As an architect, the topic is always important; I have to like the design too in order to make nice renders. As I said before, this image is not part of 02 the renders I delivered to the client. As often happens, clients prefer a more generic, less dramatic look regarding lighting and composition. Clients always seem to have a different taste in renders and, trying to figure out what it is, I can rarely satisfy my own expectations for the project. This project was anything but subtle. 03 I mean, since the architecture was so pure, I decided to make the greenery as spectacular as possible. Every little spot of the image has something on it. There are no clean or empty surfaces in the scene. I wanted every image to be really vivid. 165
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