COUPONS

 Big 5 Sporting Goods Coupons

10-20% Big 5 Sporting Goods Coupon
Print coupon for a 10% discount on any one sale priced item and 20% discount on any one regular priced item at your local Big 5 Sporting Goods stores. See coupon for more details... ( New ! June-20 )

10% Big 5 Sporting Goods Coupon ( July-8 )
Print coupon for a 10% discount on any purchase at your local Big 5 Sporting Goods stores. See coupon for more details...

More Big 5 Sporting Goods - Weekly Ad ( Ongoing )
Simply click to see Big 5's current Ad and Coupons...

10% Big 5 Sporting Goods Coupon ( Must Sign Up )
Join Big 5 Sporting Goods E-Team and receive a 10% coupon for your next in store purchase plus get their weekly specials and offers.

0
Comments

What is BIM Model or Building Information Modeling?

by: Richard Botham

Building Information Modeling or BIM is the latest buzzword in construction industry worldwide. It has been flaunted on the front page of construction magazines; more seminars are being arranged throughout year and many companies are involved in developing products/tools around BIM. So, what is BIM? Why it so popular and what lies there in it for architects and builders?

What is BIM?

Well known industry analyst Jerry Laiserin briefs the BIM process as follows – “Building Information Modeling or BIM is a digital representation of the building process to facilitate exchange and interoperability of information in digital format.”

So, BIM is a process of demonstrating both graphical and non-graphical aspects of the full building life cycle and creating a single repository of design and construction documents, specifications and schedules. BIM process generates 3D Model encompassing geometric and geographic information of the building and properties of its components. Bentley, ArchiCAD and Revit are the popular CADD software used to generate standard 3D BIM models.

3D/4D Building Information ModelTeam members equipped with desktop PCs are networked together and contain BIM 3D modeling tools with field-specific files and a master file. A 3D model is relatively easy for all members to understand and visualize. Drawing or fabrication job can be coordinated remotely using affordable web conferencing applications such as Webex enabling team to virtually “walk through” during the construction process. In 4D modeling you have an added fourth element of time with 3D model providing better control on project schedules and activities.

What are the benefits of BIM?

Since each and every detail related to building construction is at one place and viewed by all team members design performance increases significantly. For example, the structural engineer can consult immediately with the architect regarding energy consumption strategies pertaining to structure insulation and heating. In this way BIM Model facilitates much improved coordination and collaboration among design and construction team and reduces information loss associated with project management. This helps in saving both costs and construction time and potentially benefit all the stake-holders of construction process including designers, structural engineers and contractors.

HKS and ARCHengine

Great Solutions: BIM/Information Technology
By Robert Cassidy, Editor-in-Chief; Jay W. Schneider, Senior Editor; Dave Barista, Managing Editor; and Jeff Yoders, Senior Associate Editor
August 1, 2009
Building Design and Construction

HKS used its ARCHengine virtual environment to allow season ticket holders to see different views and angles of the $1 billion Cowboys stadium project.

Architectural Visualization through Gaming Technology

Before 3D walkthroughs for client presentations were popular, HKS manager of Advanced Technologies Pat Carmichael and his team were working to marry gaming engines with 3D building models. "What's being tasked to us more and more is not just to show design, but to show function," Carmichael said. HKS's in-house-developed ARCHengine allows realistic architectural visualization in an interactive virtual environment. It includes the ability to show real-time shadows and light, moving figures, operational mechanical equipment, and animations that run at 30 frames per second. Utilizing the polygonal structure of Epic Games' Unreal Engine 3, ARCHengine delivers textured details and immersive graphic environments that can show how a building will work to clients and potential buyers. For the new $1 billion Dallas Cowboys Stadium, ARCHengine was able to show different views from different seats and allow potential season ticket holders to walk, or fly, through the stadium. Now, other visualization programs are following Carmichael's lead and using gaming engines to show architectural design.

PHOTOSHOP CS4 NEW 3D FEATURES

Photoshop CS4 Extended brings 3D in a panel
By Jeff Yoders, Senior Associate Editor
November 1, 2008
Building Design and Construction

With Photoshop CS4, you can compare images in 2-up, 3-up, 4-up, and 5-up views with one menu click. Multiple images can also be arranged several ways (2-up view, side-by-side arrangement shown).

Photoshop turned 18 this year. Not only has it been transmogrified into a verb (as in “I photoshoped you into my pictures”), it's ready to go off to college. Adobe Photoshop has ventured far beyond its original mission into new horizons, such as medical imaging and, yes, architectural design, to become the industry standard in digital imaging software. With its latest version, Photoshop CS4 Extended, Adobe has completely re-created Photoshop's user interface and thoroughly modernized the program for users and the Web world.
For its AEC users Photoshop Extended has added a completely redesigned, more powerful 3D modeling engine. Its new user interface, with customizable templates and a lessened need for drop-down menus, makes working with images much easier. Adobe has also leveraged new hardware advances in graphics and CPUs to make the one-time memory hog much faster. Processes that once took longer, such as zooming and canvas rotation, now take seconds.CS4: How suite it is
Adobe Creative Suite 3 (CS3) was the first collection with applications such as Dreamweaver from Macromedia, which Adobe acquired in 2005. The 2007 release also gave more of a Macromedia look to all of the programs in the suite (Photoshop Extended, Illustrator, InDesign, Acrobat, Flash, Dreamweaver, and Fireworks), but many users still wanted more integration between programs like Flash and Photoshop Extended and a more consistent, Web-friendly interface.
The Photoshop CS4 Extended interface—and that of all the other applications in the suite—is a vast departure from CS3, with a true shared look and feel. Adobe's workspaces are now much more configurable.
The application frame and toolbars have a uniform location across all applications. Commonly used commands such as pan, zoom, view, and the connection to Adobe Bridge CS4 (a separate photo organization program included with Photoshop) are easily accessed from Photoshop CS4 Extended's new application framebar. Image files are displayed as tabs, just like Web pages. The heads-up display that came with the Macromedia acquisition has made Photoshop much easier to use if you have more than one monitor and multiple image viewing. Photoshop CS4 Extended is now automatically configured for multiple monitors in the box.
A new adjustments panel is docked by default into the palettes area on the right of the screen. Adjustment layers have been a part of Photoshop since version 4.0 (1996), but until now they had been hidden away in a menu, which meant that many users were not aware of one of Photoshop Extended's best features. Using some adjustment layers, changes can be made to an image without destroying it. Adjustments made in layers can be altered or even removed without affecting subsequent adjustment or having to undo an entire editing process—but more importantly, your original image is kept intact by using these nondestructive adjustment layers.
With the adjustment layer panel out in the open on the main interface, Adobe speeds up workflow and offers best practices via nondestructive adjustment layers transparently. A second commonly used feature is Photoshop CS4 Extended's masking feature. It has its own panel on the main interface, too. Both pixel and vector masks can be created and edited on the fly, with variable feathering and density.
The sponge, dodge, and burn tools, used for making spot corrections to exposure and color saturation in images, have all been enhanced to improve tonal quality. Changing the size of the brush on the fly is also much, much easier. You just hold the Alt key and the right mouse button allows the brush size to be adjusted smoothly and continuously simply by moving your mouse.More power, faster processing
Photoshop has long been a notorious memory hog when working with large image files. The problem only got worse when 3D was added in Photoshop CS3 Extended. But by harnessing the power of a computer's graphics card, Adobe has addressed the resources question and given Photoshop CS4 Extended a real power boost.
By using a gaming-inspired feature called graphical processing unit (GPU) acceleration, Photoshop CS4 Extended enhances page display, zooming, and panning of large image files. When you fire up CS4, it automatically detects the properties of your machine's video card and enables GPU acceleration (assuming your video card supports it). By allowing the graphics card to help with opening and manipulating images, memory and RAM are freed up for other processes.
It's now much easier to look at multiple images in Photoshop CS4 Extended because the load and opening time is faster. The new user interface also has a handy pull-down menu that allows you to arrange image files in two-up, three-up, and four-up views in side-by-side, top-to-bottom, and other views.Fully integrated 3D
According to Bryan O'Neil Hughes, Adobe's Photoshop product manager, comments from AEC users on Photoshop CS3 Extended focused mostly on the inclusion of 3D editing. “In Photoshop CS3 Extended it was an 'in between' program for 3D,” said Hughes. “Now you have the control to do that in 3D with Photoshop CS4 Extended,” he said.
The 3D engine has been completely redesigned for Photoshop CS4 Extended. You can now import 3D models as layers and manipulate them directly in the interface and paint directly onto a 3D model. For the first time you can apply 2D layers to the surface of a 3D model to superimpose images of walls, renderings, and other features onto a model. You can export 3D layers in all the 3D file formats that Photoshop CS4 Extended supports: U3D, OBJ, DAE (Collada), and KMZ (Google Earth).
Photoshop CS4 Extended has other new 3D features, such as the ability to rotate in 3D. You can also convert a 2D image into a postcard as if it were mounted on a card. Zooming in and out of the image is also smoother than it was in CS3. You can create your own 3D meshes, using pre-supplied shapes or by converting existing 2D layers into 3D meshes using depth maps in Photoshop CS4 Extended.
A note about 3D: OpenGL is a software and hardware standard that accelerates video processing when working with large or complex images, such as 3D files. OpenGL requires a video adapter that supports the OpenGL standard. Your performance when moving, editing, and using any function that draws or renders pixels to the screen is significantly improved on a system with OpenGL installed when using Photoshop CS4 Extended.

THE SHARD OF LONDON

The Shard: Vertical City Will Tower Over London

by Bridgette Meinhold

Construction has begun on the Shard, a skyscraper that will be the tallest building in Western Europe and will provide amazing views of London. Designed by Renzo Piano Building Workshop (who was also responsible for the California Academy of Sciences), the Shard was inspired by towering church spires and the masts of ships that once anchored on the Thames. The new mixed-use development is located in the heart of London Bridge Quarter and will sit adjacent to the London Bridge Station, one of the busiest train stations in London.

The 72-storey building in the London Bridge Quarter will contain premium office space, a world-class hotel, luxury residences, a spa, restaurants & cafes, retail space and a 15-storey public viewing gallery. On the ground level, public piazza, restaurants and cafes will be open to the public with places to rest and changing art installations. Access to public transportation via bus line, train and underground will be directly on site. Previously at that location was the 1970’s Southwark Tower building on Bridge Street, which has already been demolished to begin construction on the new tower.

Renzo envisioned The Shard as a ‘Vertical City‘ - a mixed-use and dense development open and accessible to the public and yet luxurious , exclusive, and central enough to be a highly desirable address for companies and residents. The Shangri-La hotel group has already claimed the hotel space from floors 34-52. The office spaces were first devised by Renzo Piano for his Aurora Place skyscraper in Sydney, Australia. Each floor is multifunctional and contains 2 winter garden, which are naturally ventilated break-out and meeting areas surround in glass for stunning views and natural lighting.

The structure itself is made up of multiple facets of glass which narrow into a point at the top, but do not touch. The concept was generated by the irregular site plan, and the open top allows the building to breath naturally. At 306 meters (1,016 feet) the tower is surely to become a beacon for the city and a strong and vital center for commerce and travel. The Shard at London Bridge Station and is due for completion in 2012.

+ The Shard

+ Renzo Piano Building Workshop

Via Dezeen

POLL FOR THE BEST 3D SOFTWARE

Which 3D software is the best?
Rate these softwares as to their image quality output and capability being 10 as the highest and 1 as the lowest:
1. 3Dsmax ___
2. Maya ___
3. Lightwave ___
4. Cinema4D ___
5. Softimage ___
6. Bentley (Microstation) ___
7. Vectorworks ___
8. Google Sketchup ___
9. Archicad ___
10. Artlantis ___
11. Rhino ___
12. Autocad ___
13. Accurender ___
14. Form-Z ___
15. Lightscape ___
16. Revit ___

A BRIEF HISTORY OF 3D VISUALIZATION, PART 4, WHATEVER HAPPENED TO APPLE?

by Andy Catterick

Apple changed the way we all use computers and made technology usable. Awesome I hear you say . . . and it is. In this technology driven world, we all need accessibility at some point. The first ‘real’ computer I used was a Macintosh SE, the first computer I bought myself for professional 3D work was a Power Mac 6300 with the new Power PC chip. But I used PC’s too, I had a PC at work, one of the new Pentium 100Mhz chips, I thought it was insanely fast! I started 3D modeling on a Mac with Vellum 3D software, then ArchiCAD, Form-Z and Presenter Professional. It was a great hardware platform, they had the OpenGL chip and high end software was being ported to it such as Maya. I remember being at the MacWorld show in 1995 looking at 3D renderings on a Power Mac 9500, this was the future! But then, strangely, something happened, something bad.

A few months after MacWorld later I was speaking with a 3D consultant, he had just returned from a reseller convention at Apple. I was talking about what was new and coming up, what could I look forward too. He looked down at the floor, paused and told me that Apple had just announced that 3D was not an industry they were aggressively pursuing anymore. The new Imac was dominating their sales and was putting them back in the leading position they had enjoyed a few years prior. This is where they saw their future.

Well we all know now that wasn’t a bad idea. The Imac, Ipod, Iphone, It wasn’t such a bad move. Apple changed who they were as a brand. They were now a lifestyle products company, not a techie computer firm anymore. Everything about them was engaging, approachable and simple and most of all fun! This is wonderful news if that’s how you like your tech that way. But a CG artist cannot rely on one piece of software out of the box, we don’t work that way. We want to pull it apart, rebuild it, customize it, do things differently; we don’t accept conformity because the real world is full of infinite variables that we have to simulate constantly. We survive or fail based upon an ever changing technology, literally every day something changes. And we rely on thousands of developers writing abstract pieces of script or code to give us an edge in our work that we can use immediately, not wait for a software update or patch. We want to be able to use all the options of hardware connectivity and start doing things with tech it wasn’t designed to do. You only have to see how much Linux is used in effects studios to recognize how much freedom they need. Well freedom comes with complexity, but that’s our world everyday. We are OK with that. Perhaps Apple realized that and made a sensible retreat. We didn’t fit their simple fun ideology.

Back in the day, SGI were legendary, movies proudly showed off an SGI compter, maybe an Onyx or an O2 sitting so cool on the table. They were a desktop dream. But then PC processing power started to climb, fast. SGI must have realized this as they hastily introduced SGI Pentium computers. I think it was a few years later they were pretty much gone and now filed for Bankruptcy. Apple chose to focus on what they were good at, making simple, effective computers not chase high end super computing, we were happy to work with the pace of Apple Mac and Intel, it was fast enough now.

I remember the first day my new employer sat me down in front of 3D Studio. First it was on a PC, weird, then it was all techie and unfriendly, weird. But slowly I realized that I wanted all that functionality, I needed it. Just like the first time you use Vray, you change a couple of settings and render, ignoring all the other numbers you can tweak. Well after a while all those values mean something, like speed, memory efficiency, saturation, burn control, data tree configurations, its endless. And the truth is, we need all that functionality. Its not plug and play but who wants that anyway, we want to do something that nobody has done yet.

With all this said, Apple are still there, they have the Apple halo, untouchable and always with an army of followers, but not the 3D hardware designers of the visualization industry they were and to be honest I think they did the right thing. They still have 3D followers and a large user base with many 3D products but their days of 3D leadership are long over. They instead have dominated and lead with ease in consumer products, graphics and video, they have stuck by the mantra they set over 10 years ago. Do what you’re good at and give the people, the masses, what they want.

Next: Part 5, The mistake of fastracking artists to management.

A BRIEF HISTORY OF 3D VIZUALIZATION, PART 3, MAKE ART, COLLABORATE OR DIE

by Andy Catterick

Europe is a funny old place. Its countries flirt with the idea of being European and and shy away when difficulties arise, each claiming righteousness and independence, each having their own cultural richness to be proud of. One of the effects of growing European Union is the adoption of economics associated with that new union. For instance, those countries adopting the EU currency have a sudden shift in retail economics and a subsequent shift in the labor market. Once a country has a unified currency with another and open trade agreements, its skilled workers can sometimes make the transition from one country to another with ease. This sounds wonderful but of course its introduces problems. Those workers that came from a saturated labor market will expect less pay and some of those workers will be just as skilled as those in a less saturated market. Suddenly the new job market is saturated with workers willing to work for far less money than its locals. Such a thing happened in UK when Poland joined the EU. The media reveled in covering stories of small firms being crushed by workers willing to do the job for half or a third of the pay. It was chaos and a media circus.

I didn’t subscribe to this negativity. I saw an opportunity. If you are a plumber and someone is willing to do the job for half the price you can, HIRE HIM! And then hire another and do twice the work at profit, seems simple enough. But many people let barriers cloud their aspiration of success. This was very true in this case. Humbug, I thought.

The 3D world is going through such a phase right now. Globalization is the hot topic. Arch firms are sending work to China or another country with lower rates. Interestingly and perhaps humorously they are willing to do this but very unwilling to hand off concept to a design build firm charging a third of their rates. Hmmm. Whatever way you wish to see this shift, it has undeniably changed our industry and has caused a lot of artists to stop working and change career. Its a sad story and it causes a lot of disappointment. However, there is a good side to this coin.

Lets look at other industries. In fact almost every industry uses overseas production facilities to make a cost effective product. Believe me, Mercedes Benz are not made in Germany, Nike do not have a factory of workers making all their products in the heart of California. They are smart, they keep the creative teams in their respective countries and direct select firms overseas to produce their products. The larger firms have their own productions offices overseas, smaller firms use localized and local owned production firms to lower costs and keep service / quality high. So why not in 3D art?

The key lies in adopting a new pipeline, sending work out in chunks that can be started and finished independently and handed off. I have seen firms try to work an overseas team as part of the local production team. I disagree with that notion. Its too complex, too difficult and causes each production team to blame the other the moment they hit a technical difficulty. The process needs to be divided with clear standards of hand over and clear process throughout. I have also seen small firms (under 50 staff) try to setup their own overseas operation. Still to this day I have no idea why, paranoia perhaps? There are very respectable operations overseas with hundreds of artists that can be dynamic and have the resource both technical and staff to tackle almost any project out there. Why take on all the responsibilities and risks of ownership when you can subcontract (on exclusive contract if needs be) and take on the responsibility as and when your business requires and can afford it. This is basic dynamic economics. As long as the art and direction is kept in house, like Nike and Mercedes and others, the process works. Clients get the quality and artistry they came to you for and the cheaper production costs. Its a win win for everyone.

Perhaps it will be months, years before the industry finds its feet and this is an established and proven practice. I don’t want to pretend this is anything new either. Firms have been subcontracting out for years now. Some firms are only two people strong with a relationship with an overseas production office. It works well, and if those smaller firms can staff up to 10,20 or even 30 artists, directors, imagine the amount of throughput they could be creating with overseas production. The important thing to remember is ALL art stays in house, ALL direction comes from in house. ONLY chosen technical production goes out. If these and a few others are followed the system works well and could be the road map for us all to grow together within this shifting industry and welcome foreign talent and investment.

Coming soon. Part 4. What ever happened to Apple?

A BRIEF HISTORY OF 3D VIZUALIZATION, PART 2, ART AND ACCURACY AFRE NOT THE SAME

by : Andy Catterick

It was 1997, I was asked to do an animation of a performance structure within a public entertainment venue, mostly gobo’s, video and moving camera work, very simple stuff. To be honest it wasn’t even that accurate. It was good enough for an illustration but I wouldn’t want someone to create a CD set from it! But I synced it with a Fatboy Slim track, cut the piece like an MTV video, laid it down to VHS and hey presto it was a HUGE hit with the client, they loved it. I had done other animations that were technically accurate but they were a little boring and had many awkward moments in the sequencing. I hated those other projects, anybody could do this, I felt like a guy with some software pushing the buttons. At that point I knew that this industry had a problem. When does the designer let go and the artist start his work?

The answer to that question has not ever been answered entirely, its subjective. The designer wants to be an artist and the artist wants to redesign. It’s a paradox. The problem was approached by firms hiring designers that could do some 3D, but as the technology grew independent of CAD, those individuals slowly became master of none and often shifted back into design. The ones that moved into 3D art were the brave. The industry didn’t exist back in those days. Sure you heard of a few names, Hayes Davidson were leading a flock of HD like firms. But it was a tiny group of people doing this.

Well as things developed, the technology grew fast, very fast and then exploded. I use that word with great vigor. It literally exploded. Vray, MentalRay, Final Render, Brazil were suddenly all common names and on the desktop of young artists. Cracked version were everywhere, I didn’t know anyone that had a legit copy unless they were working for an agency. The offshoot of this was the technology getting into the hands of everyone. Autodesk did this years ago. Few people realize part of the reason they have such dominance was a very intelligent upgrade policy they had for a while. Knowing how much AutoCAD had been cracked they offered everybody to upgrade, no questions asked. Of course every man and his dog did it, this gave Autodesk huge market growth and the inertia to make one of the best pieces of CAD software ever written. Well a similar inertia took place with advanced rendering. Everyone was scrambling to figure out which was the best one. I was interviewed about this in a London Magazine. They interviewed myself, Hayes Davidson and a leading architecture firm. I was the Vray guy. Brazil had screwed me over on a project and Splutterfish weren’t that much help to be honest. Vray was my guy.

One day I was working on a new proposal. The fee was close to £75,000, about $122,000. I was wrapping things up when a supervisor approached me with a letter. I read it and couldn’t believe my eyes. With their rates they could do this for £5,000!!!! How I asked myself? They were from Bulgaria, the work was good, not great but good enough that they could of spent twice as long and made the work great and still be WAY under my fee. Oh crap! It hit me. We are now global.

From China to India to Vietnam everyone was learning about this 3D business, and getting good, REAL good! They were charging $4 an hour, my charge out rate for a Senior artist was closer to $100. I couldn’t compete.

For a while we all ignored it, but slowly these firms broke into the marketplace, going direct to arch firms and clients. We would get comments like ‘well company X will do the image for $300, can you do it for that?’. It was a problem and one that has almost killed the industry.

But, there is good news, the work was mostly excellent, technically great, but firms were getting frustrated with trying to art direct. When the work had to go back and forth 10 times to get it right, the fee started to rise, a lot. If it didn’t rise, the deadline approached and you got 90% the look and feel that you wanted. This isn’t true for all overseas firms. Some were awesome, amazing, stunning! But most were technically good, just technically.

So this brings us back to the two emerging categories, the technically brilliant 3D renderer and the 3D artist. You need them both on your team, but now you needed a third group, the overseas technical renderer. This worked for a while but soon we realized that the artist sitting in the corner that can’t finish the shot is only as good as the artist in Taiwan, but your guys costs another 30-50 dollars an hour. Firms were starting let go the renderers and bring on artists and art directors. It was the start of a big change and would reshape the way every firm out there would work.

In the next part of this series I’ll talk about how the industry mistakes and successes due to 3D art globalization and what we might have to do to survive it.

Next. Part 3. Make art, collaborate or fail.

A BRIEF HISTORY OF 3D VIZUALIZATION,PART 1, WE WERE ALL GEEKS AT ONE POINT

by: Andy Catterick

Many years ago when I started in this industry I remember a lecture that started

‘3D Visualization is like good sex, a lot of people are talking about it, but not many are doing it.’

How right he was, the buzzwords were all starting to become commonplace. Words like parametric, surface skinning, object orientated databases and on the odd occasion, ray tracing. We all spoke about the techie side of the industry, because it was exactly that, it wasn’t pretty back then. But like the opening line to that lecture, not many of us were really doing anything fun with that technology, unless we had a million dollar budget that is. Of course now, some of these words are now redundant, not because the technologies have been superceded, but the user doesn’t have to know about them. For instance, walk into a studio and ask for a show of hands how many people know what that teapot tool is for and what it’s called. I would guess that first answer may raise a few hands, but the second?

Well it’s called the Utah teapot, digitized from a Melitta teapot by a chap called Dr Martin Newell. Who you may ask? Well Newell was also responsible for a sorting algorithm known as Newell’s algorithm. This fixed a few problems with another graphical algorithm for sorting and cutting overlapping objects. So what I hear you cry, who cares! Well those technologies enable us to do much of what we do today, and we still use them, without thought, thanks to people like Dr Newell. If you have ever used AutoCAD, Illustrator or his own baby, Ashlar Vellum, you will have experienced his ‘drafting assistant’ technology. One that in my opinion changed the market place for electronic drafting. I was lucky enough to meet Dr Martin Newell a few times; we even worked for the same firm at one point. He came across as a very collected and giving man without much bravado. He was breaking ground every day and essentially developing new technologies one by one.

Years later the industry has changed. Technical ability and Artistry have separated. Users are now looking for different things and in my opinion the industry has matured for the better. I create two distinctions in users.

Artistry. There are those users that have come from a variety of backgrounds and are using their talent create beautiful 3D art. Software is a tool for them, tablets, just another pen. These people are often easy to spot, they tend to care less about tech, and their focus is in look, feel and story.

Technical brilliance. I see this growing with an unprecedented speed. People all over the world are becoming excellent at making 3D art accurate and startlingly real. Software has now become so easy to learn that almost anyone can make an image look almost real. In time and with enough hard work these people can produce some awesome work.

But this separation has created problems, BIG ONES, and its rotting away our industry. In the next part of this series I’ll talk about how the separation has occurred and its snowball effect on our industry.

Coming soon; Part 2, Art and Accuracy are not the same.

Intro to the blog

This blog is dedicated to all architects, designers, 3D artists and CAD users out there.