Week 9
- Alisha Gupta
- May 23, 2023
- 4 min read
Updated: Nov 28, 2023
The second last week before the Unit Hand In was busy in every possible sense. I had to start the Exterior technical drawing, complete the Blender model and begin my concept art for the exterior location adaptation. The Exterior technical drawing was not as time consuming as my interior since the structure of the design I created previously was simple by nature with less detail. I created the Plan fairly easily and only required to scale the rood slightly in the Elevation with the length of the pillars.
The height of the entire ‘jharokha’ came up to 14 feet, with it being approximately 16 ft wide. This worked perfectly by design to be a studio build and allow for the camera to pull back into the space and view the interior for wide angle shots of the space as an extension of the set as one whole build.
Interior Technical Elevation
Since I had fixed the pattern on my jaali windows through my blender model in 3D which helped me identify the scale of each flower and the spacing required between each to fit the design accurately. I used the 3D window as my reference to fix the technical drawing of my windows in elevation on Sketchup.
I had the two walls with the doors left to create as well and did so by focusing on one door at a time, using the arc tool to create the inner woodwork and framing of the door which had a distinct Rajasthani archway which gave the royal silhouette I wanted to achieve. After completing one frame I duplicated and flipped it for the right hand side of the design and this way did both the walls.
The ceiling elevation was a bit confusing to say the least. The ceiling was a dome by design which meant it did appear flat on plan when viewed from below looking up to see the inverted flower shape of it. The elevation of it was where I stumbled a bit. I made it in four parts based on the side it was viewed from and this made it appear as four halves with the two top portions above and the two lower portions just below the flower pattern as a continuation of the design.
Texturing the model
When I was satisfied with my outcome on Sketchup, I moved back into Blender to texture the model. This process was quick since I had a fair idea of the look and feel of my environment and the colour palette that was fairly subdued with neutral tones of beige and browns from the two main materials common to architecture of Rajasthan, which was sandstone and marble.
The milky white of the marble complimented the intricate carvings of the pillar which held the elements grouped separately to be textured as the mirror work. This came out well as the mirror left a reflective sheen, perfect for me to light the space and have it bounce off those textures.
All the walls, windows and parts of the pillars were textured as sandstone, leaving the pillars, ceiling and parts of the door to be in marble. For my doorframes I textured them as wood which gave a rough old wood finish that blended in with the colour palette as doors in Jaipur where made from wood by material and the purpose of my design was to be authentic to Indian culture and heritage that wasn’t drastically westernized for global audiences. I made the water by simply placing an image texture of the ocean on a large flat plane with a modifier to create waves that added the realistic movement when played back and seen in render view.
Lighting the model
This was the most important factor in my model for the final image and animation renders. I started with experimenting on the model in Object view by placing a sun above it and changing the angle of the light to hit it in a space the jaali windows a reflection of its shadows on the ground and was able to effectively do this after a few attempts. This sun light became my main light source that I changed the colour of to a warm reddish brown since I was creating a night scene that needed illumination to avoid losing detail.
The first object I began lighting was the water. The main light source I used in my scene were Point lights as this was a low lit scene, which needed soft and small directional light that was not intense or overly bright to the eye to maintain the mystery and suspense in the atmosphere. I placed point lights just above and between the water plane in colours of sea green and shades of blue to illuminate the waves.
The third object that I placed point lights in were the jaali windows that needed to be highlighted as the centre point of the interior to place emphasis on the jaali pattern and the shape language it left behind as shadows over the water glistening in the light. I placed my point lights as a warm orange-yellow colour between the framing in parts of the window to make them appear natural and not harshly lit.
The fourth objects that needed lighting to show the detailing were around the base and top of my pillars. The point lights were specifically angled around the mirror-work to give that texture visibility and a glow around the base that acted as diyas (Indian candles made from baked clay) in the scene.
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