@pbacot said:

Nice work. One could have a lot of fun with this. I like the globe etc. a lot!.

You might try a more interesting wall treatment. I guess that's indicating the boards on the hull, but I imagine a lot of these cabins had something more like paneled walls? Or the boards and wall could be more shaped to the ship's curvature.

The romantic view out the back is also nice.

It is a recreation of the Swedish ship the Vasa and that is IKEA flooring.

What is the purpose of the reference line tool? How can it be used to build a better model in SU.

@crazy eyes said:

Is anyone able to help me with a lighting issue I'm having?
Im using twilight render, and I don't like the light reflections on the ceiling...
[attachment=2:34r94ddp]<!-- ia2 -->SmallRender020.jpg<!-- ia2 -->[/attachment:34r94ddp]

Here are couple of other renders too.
[attachment=1:34r94ddp]<!-- ia1 -->SmallRender006.jpg<!-- ia1 -->[/attachment:34r94ddp]
[attachment=0:34r94ddp]<!-- ia0 -->SmallRender017.jpg<!-- ia0 -->[/attachment:34r94ddp]

Please, on C&C on the rendering modelling, not the design, as I have no control over the design.

PS, Im doing this as a hobby, not for money.

Cheers

Clone the reflections out in Photoshop or sink the lights deeper in their receptacles so the grazing light is only directed down and not out.

@puppychew said:

one more problem. I have new lattice for under the porch. I did the same with that image - exploded and deleted all but the lattice. I then imported it into the main file with the house. I am not able to take that section and place it on top of the image - it only goes behind it.

Post the file and I will show you how to place the lattice.

@puppychew said:

I am working on a job for someone out of state. Normally I do architectural design in photoshop and autocad but SU can really help. If I ask the client for an angled photo then the other work I did would be out of wack.

Ken, I don't follow the "out of wack" part. You can model the other wall from a 3/4 view or an elevation view it does not really matter. You can even build that other wall as a separate file and then import it into your current file (rotated to fit your depth axis). If the dimensions are alittle off, you can stretch or compress the new wall to fit. Uou do know that you can change your scale or units of measure at any time in the design process? If the texturing of the new wall does not match that can be fixed too, I am just assuming that wall we cant see is made of the same clap boards and not Carrera marble. So you take you original front photos and select the biggest uninterrupted clapboard span you can find. You import that into photoshop, correct the parallel lines and tonal evenness and make it into a new material. Then after poking out windows etc. you click load the paint bucket with your new texture and with one click paint the whole side of the building to match the front. By using tricks of the trade there should be no "out of wackness" once you master the power of the program. Extra source material should only help and not hider your ability to deliver a good product. You will stub your toe learning new tricks, but in the longer run things will get simpler. Try new stuff and ask very specific questions on this forum an you will get a lot of help.

What inhibits you from getting a 3/4 view photo? Just curious.

@mitcorb said:

@Dave: Yes I see, now.

@Roger: I didn't realize that he worked for Renault. There's a heap o people really indebted to his invention, me for one.

I wrote a story for the Hitachi Data Systems magazine at one time about mainframe-based design and manufacturing systems and that was some of the data that I came up with. Also, if memory serves, one of the Renault brothers collaborated with the Nazis and after the liberation with beaten to death by a French soldier who used his helmet as a weapon.

French Curve Tool
How about the French-Curve Tool? Speaking of which reminds me that Monsieur Bezier was a French engineer working for Renault (?).

Impressive graphic sense. It really show the emotive potential of raw sketchup. Very nice and very efficient technique.

Two D trees are great for the far and mid background. When you get to the near foreground where the subtle effects such as play of ambient light on your leaves and bark become noticeable you will have to decide the trade offs for yourself. The question becomes what works best for your work flow and style versus how good and how expensive/available are you vegetation models. You may find one answer does not fit all situations and move from one technique to the other based on circumstances. Remember most viewers will not care how you did your work, they only care about the visual appeal of the finished piece.

I am not understanding your not understanding. I opened your file. It looks like a solid to me and I get no message about it being not solid.

@bryan k said:

This thread both inspires and saddens me.

Wow! I know what you mean bummer.

Hola pana, esto es tan facil por un Caraqueno de 25 anos de edad.? Conoces el 3D Warehouse? Hay mucho arboles alla pero no tiene el araguaney.

-- El Duque de Ahwatukee a su orden

@jpalm32 said:

Nice Roger.
Have you done anymore?

This was captured with just three photos, but the more ambient occlusion you have the more photos you need up to 70. The more fine detail quality you need the bigger your mesh file grows. This technique has potential if you are comfortable with work arounds to manage exceptions. The elephant came out quite good. You can't see it here but the ivy was a fail in terms of 3D. The ivy is a long photo textured funnel shape when seen from the side. For rectilinear buildings I think it is perhaps best to capture the mesh and convert the mesh to a locked component, then use sketchUp to do a "3D, untriangulated traceover. When the 3D traceover is complete, go back and erase the complex mesh except where you might want to keep irregular/hard to define surfaces.

Lets say I was doing the original design for the Bangkok hotel where this photo was taken. I would do the main body of the hotel in SU and then do a 3D photo session with and elephant. Then I would plug the elephant mesh into the hotel with a notice to the artisans sculpting the elephant to do the best interpretation of MY elepant as THEY can.

Paul Debevic PhD wrote the following paper:
http://people.ict.usc.edu/~debevec/Thesis/debevec-phdthesis-1996.pdf

If this subject interests you, you may find some gems on this subject. I do plan to read it and see if anything sticks.

I was just thinking of 18 wheel truck that have glass on the bottom side of the passenger door so drivers can see cars passing in the mirror's blind spot. Didn't know about the BMW mirrors. Industrial design at work. You are probably right.

@mike lucey said:

It looks like BMW are getting serious about producing an electric car and the BMW i3 Concept could be what we will eventually see in the showrooms.

While the upper glass doors look cool, I don't understand why they have them!

To show off your legs obviously! Or perhaps to see curbs when parking.

@chris fullmer said:

Roger, is it possible to post the 123d catch file you made of the boat? I'd be curious to play with it, if you don't mind sharing it.

The boat and the water are all one. I attached call out tags to the corners of the sails and then destroyed the sails and replaced them with flat planes. If I had not been lazy, I could have then used "soap bubble" to re-inflate the sails. The problem was my lighting. On one side of the sail I was seeing reflected lighting and on the other I was seeing transmitted light. This is one of those things 123D can't interpret properly and the result was sails that looked like "croissants." As good as they taste, croissants do not work well as sails in practice.

Chris, the file is over 4MB and I can't post. Send me your email address and I will send the file to you.

Another method is laser cutting and also consider duplex stock. Both have their rewards and challenges. If the letter forms are too complicated or your card stock is too thin, I would avoid laser cutting. Thick papers are generally more expensive. When designing for corporations with thousands of professional employees such things can be a budget buster. However for yourself you can splurge on cardstock as one person can only go through so many cards. As mentioned laser cutting works better with thicker stock and duplex stock consists of two types (or colors) of paper being bonded together during manufacture. So even before printing starts you have one color on the front and another on the back.

Now if you use duplex (one side white and one side brown) and make the card double wide you can fold the card in half. So now the card is white on the inner side and brown on the outer. Now lasercut the logo through the outer (brown) side and your white logotype will show through the brown side of the card. Maybe I will model this?

@utiler said:

Thanks Steve. I think I'll stick to ratio or degrees, percentages seem thwart with danger!

Fraught with danger! -- a warning from Captain grammar.