The thin red line of detail, where is it, does it really exist? When is it a
good moment to click “render production” instead of working for another
hour on a leaf shader of a flower placed on the windowsill at the other
end of the room.
Formidable architecture, interiors, astonishing visualisations and pictures of these. That is the reason this blog was created and for that very reason you have come here probably. Thank you for this and I hope you will find it interesting enough to come back.
Anyway, now I would like to focus on interior designs and the visualisations. Have you ever wondered while looking through the visualisation gallery, what is the reason to show a close-up shot of, for example, a cloth placed over the armchair? Ok, it kinda is a part of the whole project. But if a project, not a visualisation itself, is the final product, so looking from the business perspective why should we even bother with such details?
Before I started writing this article I had decided to discuss the topic with other designers from different parts of the world. At first, I hadn’t come up with any revelatory theory. Such works are created only for the purpose of adding more than just one rendering, the one done for the specific client, to the account on Behance, for instance. Getting attention of a viewer, whether a potential client or just a potential competition, is the goal of this strategy. Being known to people from the branch is quite important.
The heated discussion ended with one statement: a client is supposed to see the interior design and not to be fascinated by some detail. However, the detailed shots may be examples of the designer’s abilities and skills. In 95% of instances the clients will never pay for a close-up shot of a book placed on the night stand but they might get convinced that their every demand will be met, eg. if someone wants Goncalo Alves Wood from South America, the material used in the visualisation will be as close to its real-life counterpart as it can be. Later on, when clients enter their finished apartment, they would say ‘Wow! It looks almost as in the visualisation!’
Some of the speakers, the ones that deal with graphic design, agreed with me. Lots of great shots in order to get viewer’s attention and hope that the visualisations are seen not only by some acquainted designers but also by the potential clients. But in the end we can’t win over a client just with a wide shot. And that brings us to the question that I want to address to designers: have you ever chosen a graphic designer just because he had some great artistic renderings although you did not actually need such renderings? It all comes to the sentence: it doesn’t matter what they talk about us as long as they actually talk. So it doesn’t matter who sees our works, but what actually does matter is the number of page views.
You have to bear in mind that your works are viewed not only by your potential clients and competition but also by graphic studio owners and headhunters, who are looking for such talents in order to make an addition to their team. Ultimately not every graphic designer wants to be a freelancer. I like to say that it’s better to be a bench warmer in Real Madrid than a striker in Real Farma Odessa (Ukrainian Second League).
Creating macro projects is definitely a good way to learn how to make shaders. No doubt, you can’t learn the way to make a wood material design when the table is actually 5 metres away from the camera. You will never be sure that every little tree-ring looks like you wanted it too. Once again, it brings us the question… why should we even bother with such things when no one can see it anyway? It reminds me now of a story from my childhood. My friend and I were very passionate about model-making. You know, plastic and paper models of planes, tanks, ships etc. The friend’s father was actually the one who got us interested in that kind of things. Once, he made a model of a military truck engine, then he covered it with the hood. I asked him why he had bothered with making the engine when no one actually saw it. He said that it didn’t matter actually, as long as he knows it’s in there. In that moment I thought it was kinda silly, but now… you might guess 🙂
However, I am truly surprised that I hadn’t come up with one particular idea before. Namely, one of the speakers told me that once the project was finished, he would rearrange the scenery. Little things: like using different colors, accessories, not more than a 1-hour job. Later, he would add a product model of a firm that he was working with, e.g. a bed. Then the rendering takes place, sending an E-mail and what is left is waiting. It is a risky way but, according to him, in more than a half of instances he would make money out of the shot twice. He often sales models through websites, like CG Trader for example. What about the situation when no one is interested in the rendering? Perhaps, changing of the main character, the bed might help?
That might be true, because I’ve heard some interesting opinions from the people that might be potential clients. Perhaps, a zoom on an apple leaf placed on a kitchen table with blurry background is not worth the money… however, the proper framing showing a cupboard and the aforementioned flowerpot… is. Truth is that designers make commissions on the sold products. Everything could be a product and sometimes you have to sell it on the first level – via the visualisation. Perhaps, we should ask ourselves if macro and bokeh are really that important or maybe we ought to…
… ‘zoom out’ a little bit.
What do you think?