A Response to “Rendering 3D Worlds – 3D Geometric Graphics II” by Anne Spalter and “Once and Future Graphics Pioneer Part I and Part II” by B.J. Novit

‘Rendering 3D Worlds’ addresses topics relating to the colorization and rendering results of surface reflection within in 3D programs (Spalter pg. 259 -63). The effect of rendering textures differs based on the characteristics of the rendered surface. The contrast between diffusion and specular reflection creates a variance between matte and mirror like reflections. Due to the mirror like quality, specular reflections are also known as highlights. Highlighting qualities are inherently controlled by factors such as the position of the viewer and the material quality of the item subject to be highlighted. In addition to the qualities of surface reflection, the properties of surface transmission are used to create transparencies within material renderings. (Spalter pg.261) While texture mapping applies a 2D graphic three dimensionally it is does not apply the texture of a material throughout the core of an object in the same manner as solid texturing. (Spalter pg. 262-5) In similarity to photography the effects of lighting are critical to the overall appreciation of 3D objects modeled through computer graphic software. Therefore, understanding and proper placement of ambient light, point sources, spotlights, area sources, directional and remote lights along with the proper selection of a view can drastically alter the overall illumination and readability of an object or environment. The primary difference in the views portrayed by real cameras verses a digital camera lies in the pre-chosen perspective projection verses the ability to opt for the parallel projection created by a virtual camera. These parallel projections fall into the categories of orthographic, axonometric, and oblique projections (Spalter pg. 267-271). Rendering timeframes and techniques although quite engaged can be altered slightly by the artist according to the materials and selection of lighting once a perspective or parallel projection is chosen. Lighting selections are often made based on various shading methods and the decision to render in the format of either a local lighting method (lighting for a single item in a space) or a global lighting method (lighting qualities reflected through various items in a space)(Splatter pg. 279).
“Once and Future Graphic Pioneer I and II”, provide insight on the achievability of technical accuracy in computer rendering and stimulated light quality through the developmental work of Cornell University. The Program of Computer Graphics at Cornell seeks ways in which architects and designers can utilize their training in spatial arrangement, hand drawings and then mirror that through the accuracy of computer programming (Novitski -Article I). The importance of photo-realistic modeling and rendering is that it allows the architect/designer to effectively communicate their conceptual ideas and collaborate beyond the abilities of pen and paper, yet without discounting the qualities of traditional media (Novitski -Article II).
Spalter comments in her article that, “Despite all the technology involved, a handmade line drawing usually is much easier to read than a computer-generated wireframe rendering since the artist can easily vary the line weights” (pg. 275). This comment fosters the idea that both hand drafting and rendering still play a valuable role in the communication of architectural drawings even though the majority of work by designers is viewed in its finality through digital media. The further development of PCG’s work in the realm of ‘precise simulation’ will allow designers to capture necessary adaptations to an environment prior to the cost of constructing a physical space and proves to be a great asset in the placement of natural and synthetic lighting techniques.
It seems as though the overall technology found in computer graphics is becoming more readily available to the general public without the compromise of being diluted down (Spalter pg. 293). This inclusion of the general public makes smarter software programs readily available for designers and artists, the challenge however is to not forget that the quality of hand rendering and drawing coupled with 3D technology is what really makes digital media such a powerful tool. The advancement of digital technology and vast availability will definitely enhance the work of designers and allow for a more accurate perception of light quality within a proposed environment (Novitski -Article I &II). However, the common availability of 3D graphics and modeling within off-the-shelf computers could potentially cause non-designers to view architects and designers as less essential to creating a built environment. -Kimberlie Wade

Articles:
“Once and Future Graphics Pioneer”, B.J. Novitski
http://www.architectureweek.com/2000/0913/tools_1-1.html
“Once and Future Graphics Pioneer II”, B.J. Novitski
http://www.architectureweek.com/2000/0920/tools_1-1.html
Spalter, A. (1999). Rendering 3D Worlds – 3D Geometric Graphics II. In The Computer in the Visual Arts (pp. 257- 293). Addison Wesley Longman Inc.