Some cool examples of my own

sketchup

#1

The level of work in some people’s Gallery posts on this forum has intimidated me a bit from posting any of my own examples, but I since I’m working on some portfolio materials these days, might as well get some coments.

Match Photo has got to be my favorite tool in SU. Here’s a recent one that could be considered a neat SketchUp “success story.”

I did a SU model for a long time friend and colleague who uses the same 2D software I do (PowerCADD). He doesn’t do SU, so I provided those services on his project. He measured and drew the existing apartment, designed the renovations, etc., and, without setting foot in the place until completion, I just did SU modeling working off his 2D work.

There was an existing classical moulding that needed to be modeled for the existing condition model and then replicated for the renovations.

All I had were his 2D plans etc, and an iPhone photo of the moulding that he took. It was just about the right angle to look straight on at a mitered corner.

What I did was:
• Model the blank wall, and use Match Photo to line up his picture.
• Create a rectangle working surface hanging off the corner corresponding to the 45° miter.
• Trace off the profile of the mitered trim on that rectangle.
• Delete the unused parts of the rectangle to leave just the trim profile.
• Rotate the profile 45° so it was square to the wall.
• Scale it in the perpendicular direction by 1/sqrt(2) to compensate for the elongation of the miter.
• Use that profile with Follow Me to make all the existing and new molding.

No, I didn’t bother modeling all the dentils, even though Profile Builder 2 probably could do that. That would have added too much excess geometry, and this representation seemed good enough.

I was pretty pleased with the results.

A couple section perspectives in B&W went into the final drawing set. One shows the use of fog to keep the background stuff in the model from competing with the foreground.

Now that the project is completed, I’ve put on my other hat and gone in as photographer to do finish photography. I’m messing around with both the model and the photos to do some more interesting portfolio work.


#2

Now armed with completed photos, I’ve done Match Photo and merged reality with SU model in Photoshop as an experiment. Still needs some work.


#3

Very nice indeed. Seamless. Good to see architectural examples being shown.


#4

“neat” = Kiwi ?


#5

Wow! that’s some accurate model work to be able to go back and do post-photo match!


#6

Nice work.

I’ve taken a similar approach to projects that are finished or under construction. I won’t derail your thread - but might start another one with some SU models that I’ve blended over real life projects.


#7

Kiwi = New Zealand? :thinking:


#8

Under construction could make some interesting illustrations too.


#9

yeppp


#10

I think the images are a great example of the merging of what is and what is to be. Very well done…and neat could apply in multiple contexts. And being done remotely is the neatest.


#11

That merged reality shot is incredible. Great work!

So you used matched photo for the left side after matching the camera view angle, and then blurred the intersection of the two sides in Photoshop? I definitely need to try this!


#12

Yes, in Photoshop. I can explain better when I get more time.


#13

So, once the Match Photo is done:
• I turn off the photo with a style that’s just lines and no shadows.
• Export as PNG or TIFF to Photoshop
• Convert the line image to transparency with a bunch of steps (see below)
• Ad this line drawing to the original photo as a layer
• Each layer (Photo and Linework) gets a layer mask with a graded fill to taper off visibility.

I first read about gray scale to transparency conversion from Photoshop User magazine (July/August 2010, pg 40-47) as a part of a work flow for coloring hand drawn comic book art. Google it and you’ll find lots of other how-to’s, but I found this one to be good. It describes a quick and dirty method using multiply, and a longer method to true transparency. I took all those steps and recorded them into an action, so it’s just one click for me now to do.

I mentioned this elsewhere, but if you’re getting linework out of SU, you can vary the line weight by changing the resolution in output options dialog. If you dial up the resolution here and then resample down in PS, the lineweight gets lighter and vice versa.