Author: Olof Eriksson Client: Peab Bostad Architect: Södergruppen Software: 3ds max 2020, Vray Next, Photoshop Time: March 2020
" I chose this image because it is a good example of how much fun archviz can be when working with clients and architects that trust my instincts regarding what a good image is.
For example, the client’s initial idea was to place the camera down by the water and look up towards the building. I preferred this camera, where we are looking down towards the marina, and they accepted it. They also gave me a great deal of freedom in choosing the light and atmosphere. The one aspect that I find most difficult, is to balance the bright areas against the dark. Of course it isn’t made easier by the fact that every monitor displays contrast / gamma slightly different. Contrast also has to be balanced with respect to many clients' wishes for overly bright shadows. For this shot, I didn’t have time to render with atmospheric fog, so the fog is all done in Photoshop. The post processing with fog, and light vs darkness, was a real balancing act for me, and hopefully I accomplished my ambition to depict the end of a warm summer day by the sea! "
W – Hi Olof, Thank you for joining us. Tell us about your journey to the visualization world. OE – My name is Olof Eriksson, I am 32 years old and from Stockholm. I discovered archviz in the 4th year of architecture school, through a short introductory course in Rhino and Vray. When it was time for my master’s thesis, I found myself focusing almost entirely on the visualizations. The result was of course that my proposal as a whole was suffering, but after graduating in 2014, I knew what direction I wanted to head. I started working as an in-house artist at a municipality, and later moved on to working for two different architectural studios in Stockholm, before I started my own one man studio 3 years ago. W – How is your one man studio approach? OE – I like to be in control of as many aspects of the image making process as I can, and for that reason I almost exclusively use materials that I have created myself from scratch (apart from materials on pre-made assets). So to keep up with all the high quality images that are being made around the world, I constantly need to keep improving my materials. W – How do you see the future of the profession? OE – I have to say that I have mixed feelings. On one hand, more processing power and a higher degree of automation brings new possibilities for more efficient workflows, and better images and videos. On the other hand, I fear that some of the aspects I like the most (like making materials) will be partly obsolete, as we won’t be able to compete with the likes of Quixel, or future versions of more automated software like Twinmotion or Lumion, that aren’t yet up to speed as of 2020. If everyone’s images will have the same look, stemming from pre-made presets in software packages like Lumion, I will probably go find something else to work with, but luckily, I don’t think we are there yet, so I hope for many more years of individual expression! W – Who inspires you? OE – Like everyone else, I am constantly on the look-out for great 3D-artists to be inspired by. My latest “finding” is plots.studio which I am following eagerly to see what they will do next! www.oevis.se I IG oloferikssonvis