Rendered Architecture
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I do not even know how I created this but I guess it is not important. I am pretty sure was probably in Topaz.
Happy Slider Sunday
Our guess is that this was a rendering facility of some kind. The building at the side looks occupied..
Apologies for adding this late but here's the definition in Dictionary. Com;... Rendering Works - (used with a singular verb) a factory or plant that renders and processes livestock carcasses into tallow, hides, fertilizer, etc
In this months Kaizen #59 there was an interesting tutorial using photos of architecture. I haven't finished that yet but did a project first using my personal approach to this idea. All of these elements are from itKuPiLLi, one of the best of the contributors to the program. I call this Renaissance Architecture Rendering. Enjoy!
Taken in southern Utah. The oval stone almost felt like an altar...but I found it to be a pain with regard to composition. I didn't want to miss it...nor could it dominate the rendering. At the same time, the subtle sun rays had created a fairly dark scene. So...I did lots of toning throughout this shot to get the atmosphere I wanted to see. Finished and uploaded on Nov. 15, 2015.
Out with Kevin on Sunday morning for some early shooting. A painterly rendering with motion blur with the shadow/light forest view!
An adult female New Holland Frog from Mt Surprise in far north eastern Queensland Australia.
A wonderful symphony of colour, light and bokeh rendering from the classic Pentacon lens. Image taken on a Canon EOS 5D Mark 3 DSLR coupled to a vintage German M42 Pentacon M42 30/3.5 lens with a 9mm M42 extension tube attached. A third party M42 to EOS adapter incorporated. Image shot wide-open and hand-held, with a touch of fill-flash. Apart from RAW conversion and the most basic of editing, image shot as is.
I love my Pentacon.
Ok....my first sketches are always rough, just playing with an idea. I refine it a little bit before I start the rendering. Then on tracing paper I very lightly will start with a single center line to use as a reference. I also draw a center line on my rough sketch to compare. The rough sketches are just a tad bigger than actual size but the rendering will be at least 3 to four times actual size. All first lines are drawn as lightly as possible.....and with a .3mm pencil that I keep fine sanded to a needlepoint. I use an eraser shield and an eraser a lot....but try to draw lines only once (ha!). I use a compass whenever a clean large circle or an arc is called for. I use plastic templates for smaller circles or arcs. I use a steel straight edge and have several french curves on hand. I try and keep my grubby, oily hands off the paper by covering areas already drawn with another sheet of clean paper. When all the lines are lightly drawn just the way I want them, I erase whatever extra marks I can find and air blast the residue off. Then I darken all the lines. Then I shade it. Then I hit the whole thing with the eraser again, and air blast it. Then I apply a very light spray of "Aussie Instant Freeze" hair spray. Now it's time to paint the back. With fine sable brushes I first paint only the areas which are "gold", being very careful not to go outside the lines, hee hee! Dry it thoroughly. Then I rather sloppily apply the other colors quickly so as not to disturb the gold layer. Dry thoroughly. For this job I then also returned to the front and applied tiny smudges (without any rubbing or blending) of a day-glo green oil pastel to the green stones for highlights and green, orange and a little blue for the opal's play of color. For this back-painted rendering to be successful, you must use at least tracing paper......but vellum is uber nice! From there on it's photoshop for color-enhancement and more cleanup. But the images above are how far I get by hand.
Hello everyone! Just per usual, another room I've put together... Soon I'll be finishing up with a client project so I'll post those rooms up sometime next week.
I was jamming to this tune while creating this scene - www.youtube.com/watch?v=GvmKxDcO8vU
3D rendered version, by yours truly. A carbonated soft drink mix processor (left) and ammonia chiller (right) for cooling the mix before piping to the can or bottle filler. (The color of the rendering was chosen randomly.) All rights reserved - do not copy or download, please!
Another sneak peek of the cafe and bakery building I'm working on. Computer rendering but only existing bricks/colors were used.
In optics, a caustic or caustic network is the envelope of light rays reflected or refracted by a curved surface or object, or the projection of that envelope of rays on another surface. The caustic is a curve or surface to which each of the light rays is tangent, defining a boundary of an envelope of rays as a curve of concentrated light.
We're Here visiting Caustics
Here is my rendering of a rushing stream near Angels Camp CA. This effect was done with Photoshop to make it more ethereal.
WTOB / 21mp Rendering by WindowedBorderless & resize / SweetFX / K-putt NoClip Hack / Custom Commands (FOV, Timestop, HideHud, Hide Hands) / AA8x
Nippon Kogaku (later known as Nikon) Nikkor-H.C. 5 cm f/2 LTM "black belt" (1940s)
The 6/3 Sonnar design gives this lens a different rendering from the Double Gauss type of vintage lenses.
So I have no idea why these DBG backgrounds are looking like doo-doo. I took Matt's advice and reset POV-Ray to initial settings, and it is still looking like this. All white, LBG, and tan look fine, most of the time. But the darker background looks BAD. Anyone have any suggestions?
No; its not a architectual rendering but a real shopping plaza here in Savannah. While some stores have reopened the majority have not and remain closed.
rendering showing the atrium space of an office design competition i participated in. The concrete floor curls up to create the reception desk, while the wood slat ceiling folds down behind the desk to create the wall and floor.
The Lappet moth caterpillar is a creature that I never want to brush against. Since my childhood, I have had narrow escapes from this viciously defensive caterpillar while attempting to pluck fruit from trees, especially guava.
On multiple occasions, while climbing fruit trees, I have nearly grasped the exact spot where the camouflaged caterpillar was hiding in plain sight. At the very last moment, I've noticed it and abruptly stopped or grabbed an adjacent branch, struggling to regain my balance and composure.
With its enormous size, fierce-looking defensive hairs, and effective camouflage, encountering this caterpillar is truly a nightmare.
It is capable of defending itself against me, but there is a stealthy creature seen in the second picture that is feasting on its body fluids, rendering its defenses pathetically useless.
With Federal Troops rendering honors, the 2022 re-enactment of the Lincoln Funeral Train passes one span of the Herr's Mill Covered Bridge, on its journey eastward toward Ironstone Station, not far ahead.
The structure pictured on the right is one of several historic structures which have been saved from potential loss by the Abel family of Elizabethtown, PA. In this case, the structure is one of two spans of the Herr's Mill Covered Bridge, which was decaying in its original location in Ronks, PA, not far from the Strasburg Rail Road. The bridge was disassembled and moved to the Stone Gables Estate, where it was restored and re-assembled. This span currently handles vehicle traffic from one of the entrances to the property. The remaining span has yet to be installed, but the current plan is for it to be part of the actual railroad....meaning the train will pass through it. Expect this to happen in the next few years.
While the railroad structures and rolling stock at the new Harrisburg, Lincoln & Lancaster Railroad are all quite beautiful, they are unfortunately becoming increasingly difficult to photograph. The landscapers on the property have planted hundreds of new trees, many of them within just a few feet of the track. Consequently, clear views of the train and equipment, which were available in 2019, now no longer exist. Hopefully, the folks who handle the landscaping will reconsider the placement of some of these trees and move them just a bit farther from the right of way, as this operation has enormous potential for photography and film making.
Fig. 51 (p. 134) - A representation of the art of dying in Savonarola’s book ‘Predica dell’arte del bene morire’ (Firenze, 1504). The two-division of life and death is superimposed on a four-division of heaven and earth.
Pp. 267 - 268 in: Vision of Four Notions - Marten Kuilman (unpublished). 'Visions of Four Notions' is the second book of a quadrilogue by Marten Kuilman. The book deals primarily with the theoretical aspects of quadralectic thinking. It was completed in November 2001:
The introduction of das Geviert (the four-fold), in the later works of Martin Heidegger (Vorträge und Aufsätze, 1954), pointed to the interplay of heaven and earth, the holy and the mortal. He saw these four entities as the main constituencies in the creation of space and Being. His visualisation of the four-fold, as a meeting place for man and nature, is a strong reminder to the picture of the ‘art of dying’ in Girolamo Savonarola’s book ‘Predica dell’arte del bene morire’ (see p. 134; fig. 51). This symmetrical woodcut – shaped at the Pivotal Point of the European cultural history (Chapter 6.1; fig. 66; p. 188) – has exactly the components, which Heidegger saw as the ‘world’ (das bauende Hervorbringen).
The boundary between heaven and earth is right in the middle. The Death emphasizes the opposition by pointing his arms to the signs quasu (now written as quassu, an (Italian) adverb meaning ‘up here’ or ‘on high’) and quagiu (now quaggiu, translated as ‘down here’, on earth). The contrast between holy and mortal is envisaged in God and the angels, in the upper half, and Satan (as the fallen angel Lucifer) and the devils in the lower half. These two oppositional pairs (heaven-earth and holy-mortal) represent the basic qualities of any communication in place and time (or in their operational disguises as division and movement).
Heidegger’s Geviert has, although covered in a blanket of hard-to-under-stand terms (‘penetrating the thickets of Heidegger’s terminological jungle’), a strong analogy with Savonarola’s ‘art of dying’. Both renderings try to construct, despite a time gap of 450 years, a ‘life-monument’, which is able to surpass the black-and-white setting of life (and death). The composition of (four) quadrants gives room for a broader picture of reality-itself:
1. God sits in heaven, in a circle of clouds. The blessing figure, surrounded by nine angels (the muses?) amidst stars, is framed in a mandorla with four angels. This holy place bears all the characteristics of the First Quadrant, the invisible invisibility of the quadralectic mind.
2. The holy circle shines its light into a rather empty sky. Only two angels populate this part of the picture, floating on a cloud. Their gestures indicate an invitation to the mortals below. The symmetry of the figures is probably a reference to the First Division, in this case a two-division. They form, together with God in heaven, a trinity in quasu. The invisible visibility of the division-environment is characteristic for the Second Quadrant.
3. The dualism of Life and Death reaches its zenith in the world of the mortal. The richly dressed nobleman, with his purse strapped to his belt, has an encounter with Death. The man tries to plea his innocence, but death is merciless pointing to heaven. It is time to leave the quagui. Two devils are ready to assist the departure of this earth. They form, together with the mortal and the death, a curious quaternity in quagiu. The visible visibility of the Third Quadrant is a place of limitations.
4. The sad cry of victory by a troubled Lucifer, roaring in the half-circle of the earth, represents the opposite face (of power) in the lower quarter of the picture. Four devils surround the Devil, while he is crushing two unlucky mortals. It seems as if there is no mercy in this place of darkness. A comparison with the visible invisibility of the quadralectic Fourth Quadrant might be appropriate here, but it should be noted, that the emphasis is very much on the oppositional aspects.