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passionate-reply · 3 years

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Great Albums is back for a third time! This week, we discuss Dazzle Ships, the avant-garde masterpiece that was so infamously weird, it almost “sank” the pop career of Orchestral Manoeuvres in the Dark. Or did it? As usual, you can find a full transcript of the video under the break, if you’d like to read it instead.

Welcome to Passionate Reply, and welcome to Great Albums. Today, I’ll be talking about an album that many would consider OMD’s best, and many would consider the last great album they ever made: 1983’s Dazzle Ships, their fourth studio LP. It has a reputation that precedes it, as a strange, experimental, and avant-garde album. And I can’t argue with that too much, when it has tracks that sound like "ABC Auto-Industry."

The most obvious thing one can say about Dazzle Ships is that it’s dense and rich with samples. You’ll hear found sounds ranging from a “Speak and Spell” toy to a radio broadcast from Czechoslovakia. It’s a magpie’s nest constructed of garbage and baubles, collage-like and conscientiously artificial. And OMD’s Paul Humphreys and Andy McCluskey managed to make it before sampling became easier and hence more widespread later in the 1980s, thanks to advancements in digital technology. In its own day, it was, famously, a huge flop, baffling even the critics, which makes it tempting to argue that the world simply wasn’t ready for it. Popular legend says that Humphreys and McCluskey were essentially forced to make increasingly soft, pop-oriented music for years afterward, usually at the hands of their label’s higher-ups.

Is that story really true? Well, I don’t know, and I’m not sure if anybody really does. But I think it’s important that we entertain some doubt. Regardless of its actual veracity, this legend is offering us a simplistic narrative of art and capital butting heads, and one that we see repeated all too often in music journalism. It’s a story that expects us to believe that experimental music is good by default, and the natural goal of music and all the people who make it--and, conversely, that accessible music is bad, and anyone who writes a song you can dance to is always after profit, never craft.

Ultimately, though, the most important reason why I’m asking you to leave this question at the gate is that it’s simply a less interesting way to think about art. What I think is truly ingenious about OMD is their ability to combine a pop sensibility with that bleeding-edge experimentation, and vice versa. I don’t think of Dazzle Ships as just an inscrutable, esoteric musical ready-made, but rather something capable of animating and enriching a bunch of otherwise mundane sounds. A word I might use for it is "challenging," because it isn't simply off-putting--it has a certain charm that invites you to stick around and work through it, and you don't feel like it's a waste of your time. I think the underlying pop DNA offered by Dazzle Ships is a big part of that.

In “Genetic Engineering,” the samples from that Speak & Spell are contrasted with a more traditional chorus, which rises above the chaos, stirring and anthemic. It’s a song full of friction, not only between these musical ideas, but in ideas about technology and our future. Like many great works of electronic music, especially earlier in its history, Dazzle Ships is deeply concerned with science and technology, and the ways they’ve structured our world. These guys wrote “Enola Gay” a few years earlier, sure, but there’s much more than Luddite, dystopian thinking here! Dazzle Ships walks a tightrope between romantic adoration of the promise of a better tomorrow, and the tempered uncertainty we’re forced to develop, when we witness the devastation our most horrifying inventions have wrought already. Something that helps sell the former is the motif of childhood: in addition to the Speak & Spell, “Genetic Engineering” also features a children’s toy piano, and prominently references “children” in its lyrics. And “Telegraph,” the album’s other single, sees fit to reference “Daddy.”

Touches like these, and the centering of not-so-new technologies like telegraphy and radio, carry us backward in time. Dazzle Ships has a sense of nostalgia for the technological explosion of the Midcentury, when household technologies were improving in ways that saved time and labour, and faith in “better living through science” was high. It’s not a wistful or introspective nostalgia, but rather one that taps into the bustling excitement of living through that era. That retro styling helps us situate ourselves in a childlike mindset: optimistic, but somewhat naive. Children are highly imaginative, and become enthralled with possibility, but don’t always understand every implication their actions have.

But, as I said, “Telegraph” and “Genetic Engineering” were the album’s singles; the typical track on *Dazzle Ships* sounds more like “ABC Auto-Industry.” The track listing is structured such that these more conventional songs are surrounded by briefer, and more abrasive, intrusions. They become signals in the noise, as though we’re listening to them on the radio--or ships, rising above some stormy seas. Several tracks, such as “International,” also feature a more dissonant intro, on top of that, crowding their main melodies inward.

Over the years, many critics have been quick to contrast Dazzle Ships with OMD’s other albums, but I actually think it has a lot in common with their preceding LP, 1981’s Architecture & Morality, and seems to me to flow naturally from the direction the band had already been going in. Architecture & Morality is a lively mix, with moody instrumentals like “Sealand,” guitar-driven numbers like “The New Stone Age,” and catchy, intuitive pop songs like “Souvenir.” Architecture and Morality proved to be their most successful album, when its title track sounds like this. I fail to see how it’s tremendously different than the title track of Dazzle Ships, which leads us on a harrowing sea chase, with radar pings quickly closing in.

That nautical theme is a great segue to discuss the album’s visual motif. Like all of OMD's first five albums, its sleeve was designed by Peter Saville, most famous for his stunning work for New Order. The cover and title were inspired by a painting Saville had seen, Edward Wadsworth’s *Dazzle Ships in Drydock at Liverpool,* which portrays WWI warships painted in striking, zebra-like geometric patterns. These sharply contrasting “razzle dazzle” designs weren’t “camouflage,” but rather served to confuse enemy forces’ attempts to track them, and predict their motions. Dazzle ships were killing machines that fought dirty...and they were also beautiful. It’s a potent, complex symbol, and it’s a natural fit for an album that’s also capricious, perplexing, and captivating in its uniquely modern terror. Saville’s sleeve design features both a die-cut design as well as a gatefold; peeking through the cover’s “portholes” reveals the interior, where we find a map of the world, divided by time zones. It’s yet another reminder of how technology has reshaped the planet, connecting the human race while also creating divisions.

Earlier, I argued that Dazzle Ships isn’t that different from OMD’s preceding LP, and I’d also suggest that their follow-ups to it aren’t all that different, either. It’s easy to see the influence of Dazzle Ships on their most recent work, made after reforming the group in the late 00s, and informed by the critical re-evaluation and cult acclaim of their alleged masterpiece. But even in the 80s, they basically continued the pattern of layering easy to love, “obvious single choice” tracks alongside more experimental, sample-heavy ones. Compare the title track of their sixth LP, 1985's *Crush.*

Even the greatest of pop hitmakers can't maintain a streak in the charts forever--it's not the nature of mainstream pop charts. Not even in the 1980s, when you could get away with quite a lot of electronic weirdness...at least for a while. Looking back and listening to "Maid of Orleans," it's almost hard to believe it was one of OMD's biggest hits. Is it really less weird than something like "Telegraph"? Perhaps they had simply reached the end of their imperial phase...whether they really had that stern talking-to or not.

It's not so much that Dazzle Ships isn't weird, so much as it is foreseeable that a nerdy, left-of-center band like OMD would have come up with it. Dazzle Ships IS excellent--it’s a Great Album! But it's good enough that I think it deserves to be heard and valued on its own terms. The album is too goddamn good--too compelling, too spell-binding--to be reduced to "that one album the plebs were too dumb to really get." I'm not clearing the air because I think this album is overrated, but because I think it deserves better, deeper discourse than it gets. A truly great album is great whether it sells or it doesn't, right? My advice is to never let art intimidate you, no matter how obtuse people say it is. Send your ship on that plunge into the dark waters of the unknown--you might find something beautiful.

That said...my favourite track overall is “Radio Waves,” an irresistibly fun cut that could easily have become a third single. Since “Genetic Engineering” and “Telegraph” live on side one of the record, “Radio Waves” is really the only “reprieve” we get on side two, smack in its middle. It really stands out, in context--almost like the opposite of how a more conventional album might have one out-there track that catches you off guard. Aside from all of that, though, the song also stands perfectly well alone. I have a real soft spot for music about music, how it’s made and transmitted, and “Radio Waves” is simply one hell of a ride.

Thanks for reading!

#great albums #music #omd #orchestral manoeuvres in the dark #album review #album reviews #dazzle ships #peter saville

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unexpectedcronchiness · 4 years

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WOLFSTAR AUS AND JUST THEM BEING ARTISTS LIST, PT 9 of stuff that comes from the chat

i can just see sirius who was raised pureblood being able to dance and one day hes teaching moony and remus is humming along with the music allowing himself to trust completely, and be guided by sirius, not really caring if he's doing it right just enjoying the feeling of the moment, being in sirius' arms, enjoying his little chuckles as he steps on his feet and the content sighs when the end up just holding eachother, and rocking gently like i live and breathe that shit

OOh and painter remus is classic of course, but how about painter sirius, who paints in emotional bold colors, and smears and impressionism because he likes how freeing it is, without lines, and hes just always got a sketchpad, smells like oil paint, and is covered in paint in his hair. When hes feeling particularly emotional he does abstract and no one ever really understands except moony who only needs to take one look and understands instantly

and MOOny i know i go off on musical sirius but I will fight to the death for a moony playing soft acoustic guitar, or ukulele or singing with his soprano ass voice or singing with his deep rumbly voice, or even jumping on stage, shredding because hes so full of emotion and shit adrenaline and being on stage is a drug of its own, and hes got so many emotions and he pours them into every song he writes

OOH and sirius would be such a theater nerd, he would quote the classics, the iconics, the new and unheard of, he would swoon dramatically and he would pose, but when it came down to it he could connect with the audience in a way no one else could and he shines when he's given a spotlight and an audience because he does it for people, to make them laugh or cry or just feel because watching a show and crying along with everyone in the audience and the person onstage is such a powerful moment that you remember

And of course writer/lit major remus. He writes like there's no tomorrow, he has too many empty journals, and even more filled ones, he carries his laptop, at least two books, and at least two journals with him everywhere in a messenger bag and he wears sweaters and corduroy and he writes poetry that makes the people who don't like poetry feel things, and have to admit there's an art to it. He publishes anonymously and under at least 7 faux names because his style is so fluid, he writes to fit the characters and the plot, not himself, hes very adamant about that so he divides his work up into categories and coffee shops and late nights with caffeine and glowing screens at 2am is all remus baby

ok but like blogger remus and vlogger sirius, just imagine a whole story told through their blogs and vlogs of them meeting and it starts out like "there was this hipster idiot in line at the coffee shop today, i fell in love instantly and hated every second of it" "-vague sirius hand motions as he explains how this angry guy with scars kept staring him down at a coffee shop and its such a shame that angry dude hated him because random angry dude was so pretty"

also florist remus, taking time to acquaint himself with angles and nature, everything temporary as petals wilt and leaves fall off eventually, knowing every flower, where they grow, in what climates and what they mean in flower language. Florist remus writing love notes to his customer sirius who shows up to get flowers once a week for his house and he hides messages in there like "you look nice today" all the way to one day where he says "I think im in love with you" and sirius accepts the bouquet unblinking because he doesnt know what it means at all or so remus thinks and then the next day sirius shows up with a bouquet of his own, handpicked and messy, with leaves poking out at odd angles that says "i think im in love with you too"

baker sirius that fully believes that love is a secret ingredient in food and lives by that 200% and remus first goes into his store to satisfy his sweet tooth and stays for the handsome dark haird man with frosting on his face. Sirius who does desserts from all over the world because being pureblood had to teach him something and so he wants to share it with others and his pallette is so refined, and hes using the weirdest combinations of spices and they all work, sirius loves experimenting with different flavors together "ok like that but this time with paprika!" "its a dessert sir!" "thats never stopped me before my young apprentice, watch and learn" and he flirts with the cute mousy haired man with a pallette (almost, sirius scoffs) as refined as sirius' "theres paprika in this, why tf is there paprika in this this shouldn't be working" and they talk for hours about food and one day when they finally start dating sirius spends a gentle evening teaching remus to cook cookies as remus is a mess in the kitchen and as they take them out, both of them covered in flour and giggling, remus has the biggest grin on his face like "I made this, we made this" and sirius remembers the first time he made something right and its just sooooo

OOH and teacher both of them because teaching is an art form, change my mind, but they both have very different styles. Sirius is fun and easygoing, you can't walk by his classroom without hearing laughter, and he slips the lessons in subtly and tactfully and remus is passionate and straightforward and captivating and makes learning easy, and they could be teaching elementary school to college, all their students love them. Sirius would be so patient and gentle with kindergarteners, gassing up their finger paintings and remus would do the best story time with the best books and voices for the characters and making faces and for like highschoolers and college kids, they would be honest with them and so understanding to students who came to them (and students would, they were easily the most trusted members on whatever campus they're at) and with troubles at home, or just mental health, or just dangit they had a long weekend, and remus would nod understandingly and give them chocolate, recommend them to maybe the school counselor if they needed it or and ask them if they were safe and sirius would cry with them, and tell them stories about his own experiences because if anything helps its knowing that you are not alone, and you can get through this because other people have gotten through it and you're so strong etc and i just love the boys so much

architect remus who loves gothic revival and neoclassical styles and he loves the history in buildings and how they seem to defy the laws of science all while paying homage to them, and everything is so organized and planned, every calculation is perfect, its something where there is a right answer while still having creative freedom, all you have to do is dare to imagine, and then figure out how and he loves how permanent, how real, how physical every building is, how some serve purposes, and some are art, and some are both

photographer sirius who goes insane places to get the perfect shot at insane angles, who loves taking candid portraits because those moments feel the realest and he has a super power, a super power to capture it and share it and hold onto it and relive it whenever he wants, he photographs his friends all the time, he has a wall in his apartment thats just one big collage of his favorite photos of his friends, and then hes also very good at photoshop, getting that one color to pop just right, to change the composition just enough

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happylittlemarmite · 3 years

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Creative Journal

16/11/20- Week 7

Sessions Themes: In todays session we discussed the concept of “overchoice” (Alvin Toffler, Future Shock, 1970), defined by wikipedia as “cognitive impairment in which people have a difficult time making a decision when faced with many options.” We talked about how if something is endlessly editable it would lead to endless indecision which is something that resonates with me in a big way in terms of graphics, when it comes to making different variations of a design I always find I'm overcomplicating it.

Analysis Paralysis - Overthinking causes paralysis in terms of decision making

Decision Fatigue - Deteriorating quality of decisions after too much decision making

Planning

Not about being impulsive

Commit to creative decisions

When mistakes are made build on them or work around them

How Steve Jobs’ Love of Simplicity Fuelled A Design Revolution - Smithsonian

“I love it when you can bring really great design and simple capability to something that doesn’t cost much”

“It takes a lot of hard work.... to make something simple, to truly understand the underlying challenges and come up with elegant solutions.”

“the headline of Apple’s first marketing brochure proclaimed in 1977, “Simplicity is the ultimate sophistication.””

Steve was always critical - Loved one design but hated the next where others could tell no difference between models.

Simplicity is the Key to Creativity - The Guardian

Case Study: Pizza Express

Changed Lemon Chopping duties for drinks from waiting staff to chefs.

Saved time ∴ money

“ Our conscious brains overcomplicate stuff. We can’t help but overthink and try to be clever. If we trust our gut and feel our way to solutions we have a much greater chance to deliver simplicity and ideas that work. The simplest ideas are often the best.”

Living With Complexity - Donald A Norman (2010)

We have fetishized simplicity and privileged hiding complexity

Complicating simplicity - “Complexity is good. Simplicity is misleading. The good life is complex, rich, and rewarding–but only if it is understandable, sensible, and meaningful.”

Complexity must mirror that of our own lives - “ Bad design complicates things unnecessarily and confuses us. Good design can tame complexity.”

KISS- Keep It Simple, Stupid

Competitive analysis - Research what others are doing, how their conventions and affordances can improve your project

Revisit Existing Designs - Think about functionality of design elements, get creative with affordance. Identify sources of existing elements to inspire new ideas.

Look Beyond Conventions - Replace conventions with affordances not in common use but instantly recognisable

I found the parts from Donald A Norman’s Living with complexity particularly intriguing. I had never thought before about the idea of simplicity or hiding complexity as a privilege. It made me think about how older and cheaper technology is usually more complicated than what we have now, in terms of people who are less socially and economically privileged usually owning such technology. Like for example, TV’s used to have a big box on the back for all the components but now almost every TV is flat with much of its components engineered in a way to make the device more compact and visually pleasing. We are privileged in that we have the technological knowledge in order to do this having used these old box TV's for so long, we’re privileged that we have the resources/materials, privileged that we’ve even had the luxury of TVs of a box on the back to recognised that these flat screen TVs are something more appealing.

I also found the concept of “simplicity as a design aesthetic” to be quite interesting. Continuing with the example of modern technology, it’s interesting to think of how many devices designs have changed in a way that would’ve previously been deemed largely unuseful. A good example i can think of for this is the development of the smartphone in the early 2010′s. It started out with devices like the blackberry that had so many buttons, but with the development of touch screen technology buttoned mobile phones became obsolete. It’s so wild to think my siblings will never know the concept of having to press number 9 thrice just to type the letter “y”. These design adaptations have made our lives easier yes, now that we’re acclimatised to them, but i remember many adults in the beginning were extremely sceptical of such design features being removed, and i doubt much of the generation ahead of my parents would be as comfortable to use such devices. Another example would be with the release of the iPhone model that had no earphone jack, as the company had chosen aestheticized simplicity over necessary functionality.

DSD: For my DSD activity this week I have been experimenting with cooking different types of food that I wouldn’t usually make. I have always been a very busy person, working and getting an education at the same time for years, and so cooking something nice for dinner is like the one thing I can hold onto in the daytime and look forward to. There are so many foods that i disliked growing up but have since realised my mum is just not great at cooking, so i feel like I’m a little behind the curve in terms of eating healthily and enjoying it. I always cook more asian-style cuisine, lots of rice, noodles, fish and white meat; so now I’m experimenting with what I’ve been calling “british winter warmers”. I always dismissed these kind of meals as boring and stodgy, but as my skills have developed and I have grown more confident with certain ingredients the asian-style food i was eating before is starting to become boring to me instead. I think i must’ve categorised “foreign = interesting” at some point in my brain because I always refuse to eat anything with potatoes or minced beef at its core. I think especially as we’re approaching the festive season and it’s getting a bit colder outside these classic “family favourites” are on my mind a little more, and I’ve realised i can always add my own touches to make it more interesting should i need to. Some things I have made already this week are bolognaise using spicy pork sausage instead of minced beef and Chicken, leek and bacon pie, the former being pretty major considering how historically i have always HATED bolognaise.

Inspiration: An interesting piece of media i have come across this week is the work of James Kerr (@scorpiondagger on Instagram). Facebook advertised some contemporary fashion house to me on Facebook and the animated ad was unlike anything I’d ever seen from any similar brands. Although i can’t find the original ad i had been looking at on any of their social media, I did take a screenshot as shown bellow and went on to explore some of his other work.

As I’ve mentioned before, I love to use mixed media and elements of collage in my graphic design work and have been trying to hone my own style for years. Kerr’s work uses collage of what i believe to be cut outs of classical paintings, reformed together to make new people and settings. What makes this ad stick out against his other work for me, is the combination of classical art alongside snippets of modern streetwear fashion. Looking at the cigarette ads from a few weeks ago I have been thinking a lot about incorporating retro art styles in my work.

#journal

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wander-valle-life-blog · 7 years

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Journal post 10

My evolving process

What a journey this class has been. From the beginning of the semester to now I feel I have learned so much. I also feel far more creative than ever. Like I added a new level of creative thinking to myself.

The start of my comic creating process has been the same throughout. whether It is a discover task, workshop task or major project my development is the same. I will think on the project, brainstorm in my head, move to brain mapping on paper then play with different ideas and layouts until it comes together for me the way I envisioned. I see it as a sort of organic process and it treated me well for the adaptation project. I really, really enjoyed making that comic. And I was so very impressed with myself that I pulled it off the way I did (in a hopefully endearingly arrogant sort of way) I wanted to try using water color which was new to me, so I crossed my fingers that it would look good! Since that 1st major project I have done my best to soak up as many different styles, ideas, genres to see if any spoke to me, if you will. The problem was TOO MANY did.

From one project to another to the reading discussion presentation I did on Will Eisner’s Dropsie Avenue, I was suddenly bombarded by so many awesome works. I found my groove I thought with a simple drawing approach, clean lines, no faces, simple images but all of a sudden I wanted to experiment with everything. Splash pages, black and white, shadows, abstract, mixed media, collages, more colors, markers, on and on and on. I wanted all of it in my final project because its inspiring..... yet incredibly overwhelming. Here is where my process took a turn a bit. During the workshops, attempting to put structure into my organic (and introverted) process had me going crazy with anxiety. Am I doing this right? Is this even a comic? Does this even make sense?

So, during my process with this final project i am constantly lost and found again only to be more lost. A truly frustrating thing to happen after all of my previous success. Creating an original comic is hard. So much harder than I would have anticipated. I seem to be getting in my own way because I have seen so many amazing comics, art, ideas, learned so much that I cant settle into one way. My confidence was so high in the beginning when I knew nothing about the power of the medium. Ignorance is blissful. There is one thing I am sure of at lease. My story. The main idea has not changed along the way. It will be about love and heartbreak in this millennial era of tech and tinder. The ending will leave the reader/audience feeling emboldened and inspired to take on the world solo. Here’s to putting together my comic creation this coming week in such a way I can once again amaze myself! Good vibes only my friends.

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delhi-architect2 · 4 years

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Journal - The Art of Rendering: Duy Phan on Creating Powerful Architectural Visualizations

Byron Cai is the lead editor at Archi Hacks, a platform dedicated to architecture visualization, portfolio, and design tips and tricks for students and professionals.

Duy Phan is the winner of the Ronen Beckerman TMRW 2020 Challenge and his project “Orchard Jenga” was honored to win two out of ten best-commended entries from One Rendering Challenge by Architizer.

I first came across Duy Phan’s work while browsing through the finalist gallery of Architizer’s One Rendering Challenge. His images immediately stood out to me for their bold expression of color and uniquely crafted narratives.

I would describe his style of visualization as ‘hyperrealism’; the prefix “hyper” being defined as above-and-beyond or ‘enhancing reality’. Robin Eley, Nathan Walsh, and Emanuele Dascanio are excellent examples of hyperrealist artists.

The ARM at Hudson Yards; design and visualization by Duy Phan

I think it is important to mention that hyperrealism, even though it is often mistaken as a term to be synonymous with photorealism, is not the same as photorealism. Rather, hyperrealism is the clever synthesis of color, composition and atmosphere with a hint of the avant-garde that ultimately invokes a heightened sense of emotion and mood. Duy Phan’s work does it all, and its exemplified in his winning entry for the Ronen Beckerman TMRW Challenge 2020.

I had a chance to reach out to Duy Phan and ask him about his work, methodology, and any insights he may have about ArchViz.

Byron Cai: How did you initially become interested in the field of architectural visualization? What made you decide to pursue architectural visualization or even architecture to begin with? Did you have a background in traditional art or digital art?

Duy Phan: Things started back in my high-school days when I got too addicted to drawing imaginary comic scenes and my Mom discovered that I designed and drew the little buildings I put in my images so she encouraged me to apply and study architecture. It is not that architectural design bored me, but on the contrast, having to portray and represent my ideas glued me so tight to the chair.

It made me as the question — how do I convince the project viewer to explore my work further by showing powerful images just like all the legendary architects and visual artists do? Genuinely speaking, the more I refined my project images, the more it helped me to realize my path as an ArchViz illustrator in the future.

The ARM at Hudson Yards; design and visualization by Duy Phan

Your renderings often invoke a unique sense of mood. Is photorealism the goal, or are you striving for something more?

I believe Photorealism is more of a tool rather than a goal in order to chase the outcome. Understanding and using physics in visualizing images could help the shot be more convincing, but the most realistic image might not be the most interesting. Since we observe our world with all its lights and materials daily, things become curious if those realities are stretched a bit to promote certain ideas. I have to keep reminding myself about the message I would like to convey in the image to help me collect the ingredients, and photorealism usually plays a main part here.

Urban Farm Temple; design and visualization by Duy Phan

What I find interesting about your work is that each image has its own unique quality. Where do you get your inspiration from? Does it differ from image to image?

I’m really glad that you found my works differ from one to another, as I love to try and bring something fresh to the table each time. Besides following and studying visual images from profound studios, I love to spend a bit of time everyday exploring photography sites such as Flickr and Unsplash, training my eyes to see how all physical elements attach together in a beautiful shot. At the same time, I note interesting moods that are present in some adventurous photographers’ work.

I keep these random inspirational images in a cloud drive, where I can access and note any ideas I have during my free time. Later on, when touching base with a specific image, this resource helps remind me of some concepts, and I explore whether it could fit the project brief and is worth developing further.

The ARM at Hudson Yards; design and visualization by Duy Phan

One thing that stands out immediately are the beautifully selected color palettes for each render. How do you decide which colors to use?

Color in an image is like the alphabet of our language. Letters and words are picked and organized to help us demonstrate our thoughts. In the case of visualization, considering which color to go with sis dictated by what feeling the painters would like their viewer to have. Studying the color palette and how it connects to the narrative of the image concept is key. Collecting reference images by both photographers and other rendering artists can help pre-production go in the right direction.

What is your favorite rendering that you have done so far?

Orchard Jenga is my most memorable image, which happened to be a career guide for me when I was finalizing my thesis project in university recently.

Orchard Jenga image development; design and visualization by Duy Phan

What kind of software do you use? How did your choice of digital mediums change between your school education and the ArchViz industry? Vray or Corona? Something else?

At the moment I mostly use Sketchup, 3ds Max, Corona and Photoshop. I found it was quicker for me to build my concept and preview it quickly in Sketchup, playing around with it by adjusting the Style tab features before moving on to 3ds Max. Corona got me hooked straight away when I first tried it after using Vray for a while. It’s more of personal preference when comparing these two; we can barely distinguish between them when looking at high-end renders by the masters in this industry.

Though I continually learn new techniques in 3D software, the more images I have a chance to work on, the more I lean toward 2D resources to get the result pictured in my head. Hence, the digital mediums might not change, but the proportion of time I spend on each step is changing in my workflow.

Orchard Jenga image development; design and visualization by Duy Phan

You obviously have your own creative approach to an image. Your work-in-progress images can look very different from the final result. Can you describe the process you go through for an image?

In the brainstorming process, if I didn’t model the design myself, I simplify the 3D file and then import it to Sketchup. Personally, I have found the user interface in Sketchup helps me explore and invoke more potential concepts by playing with basic light and shadow, lines weight and fog. With some images, I could go straight to Photoshop from a shot I captured here and matte paint the rest, but usually the next stage is moving to 3ds max for rendering.

From the sketched concept, I replicate the angle similar to what I had in Sketchup using Corona cam, and start with sun, lights and materials. I always keep all the lights separated in Corona Lightmix so that I can quickly find a potential mood by messing around with the light setting. As an example, two versions of the Orchard Jenga both came out of a single rendering, but differ by custom lightmix. I try to balance the time I spend in 3D and 2D; if I can solve a problem using Photoshop, I will not invest too much time in the CPU burning process.

The ARM at Hudson Yards (gallery view); design and visualization by Duy Phan

Can you describe the influence of matte painting and how you use it in the visualization process?

In my case, I think matte painting is more about eye-training rather than hand-training, just like in the old days when painters had to mess up the palette to find out which color is most similar to nature. Attaching and gluing all the pieces together to create a beautiful image is a time consuming process, and requires knowledge about any brush or montage we choose to put in.

Fully relying on 3d software sometimes gets us to forget how reality works and makes us hesitant to pursue the original concept because there is a limitation of technology, or we simply can not find the right 3d model.

The ARM at Hudson Yards (matte painting); design and visualization by Duy Phan

Are there different visual approaches that you use depending on the kind of architecture you are portraying?

Yes there are a few ways to approach a specific image in my case. A good example for this is with a birds-eye view, I would spend more time studying the surrounding context, if not in person then by google map and local images. This sometimes results in capturing good images for a photomontage, or otherwise provides me heaps of information to build the context from scratch, either in 3D or using matte painting.

Then there are interior images, where I spend more time on looking or making the right materials which happen to be exposed within the scenes, again things could be purely done from the render engine but I found it always needs a quite decent of touches when moving onto post-production process.

Interchange Oasis image development; design by Xpace, visualization by Duy Phan

Tatiana Bilbao controversially said that renderings are “dangerous and damaging” in a recent Dezeen article. Do you agree with her reasoning?

I partly agree with Tatiana about holding ideas from further development after seeing a realistic render. As I understand, from a design concept to built reality, it has been and will always be a constantly communicating process, back and forth, between designers and decision makers. Realistic renderings, collages, physical models, technical drawings or any other presentation mediums are considered as a method to convey the message from one mind to another.

Choosing to use any of these mediums is dependent on an architecture studio’s culture of demonstrating their thoughts, and this should be uniquely tailored to that studio’s type of project and their clients. Hence, in Bilbao’s studio, with a very interesting story about an old client and their potential clients, it makes sense that they found a new way to express their process.

From the viewpoint of architects, using renderings is just one of the tools to achieve their goal for a specific client or public community. When a project suits the need of making compelling images that communicate ideas, that is where ArchViz artists can help.

Where do you see the future of ArchViz going?

The more developed technology is, the easier it is to produce renderings for architectural designers. For illustrators, this should be a more positive thing rather than a competitive thing. There are always good, very good and super good images. Those who recognize the differences between them tend to value the manual work and effort put in to portray the unbuilt.

Nonetheless, this raises the bar higher for the industry. Better tools help artists unveil their potential skill set and discover more hidden inspiration in the corners of their imaginations. As a result, we will see more and more stunning work that will define new boundaries.

The post The Art of Rendering: Duy Phan on Creating Powerful Architectural Visualizations appeared first on Journal.

from Journal https://architizer.com/blog/practice/tools/the-art-of-rendering-duy-phan/ Originally published on ARCHITIZER RSS Feed: https://architizer.com/blog

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rodriguez58z-blog · 4 years

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