santos

well, there's eight enticing hours remaining but i figure i'll stop right here and go to bed. it's been a fun few months. a pleasure to be competing in such venerable company. sincere thanks to jeff for coordinating the whole affair - a truly commendable accomplishment. looking forward to watching from the sidelines next year.

goodnight.

niall b.

Attached Images

NIALLBROWNE-FINAL.jpg (193.5 KB, 1006 views)

ehanson

A big improvement over the earlier study, but feels overly blown out in lighting. It more closely matches one of Wood's sketches, but loses depth from a limited use of value. More z-depth work could help a lot to pull depth. I would think by holding down the foreground lighting, the Woods structure could really sing and not compete with the cacophony of other lit buildings. that would be one great nightclub!

Lon

This is a very dramatic piece, and I'm glad you chose to revisit this particular illustration. The lighting is a little blown out in places, but it's effective in the image. The same can be said for a few other elements like the pavement and the sky - they're not necessarily photoreal, but they work together. The people still looked stretched vertically, but overall this image is compelling.

Ernest Burden

There's a lot to like here. You have used light as an object, in essence painting it in opaque. I prefer light to be transparent, but you have used it well.

The cars and even the people are not the stars of your picture. We see them, but they are not keeping our attention. What is inescapable is the strength of the architecture, from the demure commercial buildings to your bold Woodsian animatron. Each building has a distinct personality, while we on the ground do not.

Yet the entourage is not static or monolithic. It is fluid and interesing, the best bit being the open car door. The streetlife just has to keep up with the dynamic architecture without taking over.

Light plays an important role in your image. It splashes out of the foreground shop to give us a place to step into, in the process revealing mullion details we aren't seeing directly. It reveals the structures of the middle-left building, raising our gaze above the streetscape. It brightens the spandrels of the stopper building in the back to, well, stop the scene from going on forever. And light not only shows the shapes of the tower, it becomes a part of the design by following the lines of the structure into the sky, by playing with the exterior skin but holding court for the interior.

Just before the lines of light in the sky become cliche, the dark lines of the overhead wires keep them in their place.

As I mentioned there are two ways to treat light in a picure--opaque and transparent. Painting in watercolor you leave areas of paint thin to allow the white paper to shine through--transmisive. A monitor works the same way because it is transmitting light. Reflective art is opaque and relies on light reflecting off the surface. You must paint 'light' on top of darks to get glowing effects. Each is valid, but require a different mental approach.

So it is interesting that this rendering is done like a reflective piece. It pulls it away from a 'usual' renderings. I would love to see it printed.

__________________
Ernest Burden III
AcmeDigital
architectural rendering