Photorealism in Interior Architectural Images
by
James Brenton Jr., B.S. Architecture
A Thesis
In
ARCHITECTURE
Submitted to the Graduate Faculty
of Texas Tech University in
Partial Fulfillment of
the Requirements for
the Degree of
MASTERS OF SCIENCE
IN
ARCHITECTURE
Approved
Glenn Hill
(chair)
Stan Robertson
Kuhn Park
Fred Hartmeister
Dean of the Graduate School
December, 2007
Copyright 2007, James Brenton Jr.
Texas Tech University, James A. Brenton Jr., December 2007
ACKNOWLEDGMENTS
I give my most special thanks to my Mom and Dad who supported me from the
beginning until now; I would not be where I am today without your everlasting support.
You have given me the determination and the belief that I can accomplish anything. I
love you.
Thank you Berkley for staying up many nights with me making sure this thesis
actually made sense, you kept me going. Thank you to all of my friends who encouraged
me to get this accomplished, I finally did it!
To Stan Robertson whose encouragement and drive put me on my professional
course of computer visualization and photorealism; and to Professor Glenn Hill who
helped keep me there; that couldn’t have been easy, thank you! To Dr. Kuhn Park who
hardly knew me, but believed in me and stuck with me through this process, thank you.
And to all the other professors who guided me through my years at Texas Tech
University, I could not have done it without you. Thank You!
A special thanks to author Bill Fleming whose ideas and work inspired me to
write this thesis. And to all of the accomplished artists within this thesis, I give my
thanks for you wonderful work and inspiration.
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Texas Tech University, James A. Brenton Jr., December 2007
TABLE OF CONTENTS
ACKNOWLEDGMENTS ............................................................................................. ii
LIST OF TABLES ..................................................................................................... v
LIST OF FIGURES ................................................................................................... vi
ABSTRACT .............................................................................................................. x
I. WHAT IS PHOTOREALISM ?................................................................................. 1
Introduction ........................................................................................................ 1
Background ........................................................................................................ 2
Overview ............................................................................................................ 4
II. FLEMING’S PRINCIPLES REDEFINED ................................................................ 6
Fleming’s Principles Redefined ......................................................................... 7
New Principles Identfied .................................................................................. 10
Principle #1: Global Illumination ................................................................ 10
Direct Illumination ................................................................................. 12
Indirect Illumination ............................................................................... 14
Specular Reflections ............................................................................... 17
Diffuse Reflections ................................................................................. 18
Principle #2: Accurate Object Representation ............................................ 20
Beveled Edges ........................................................................................ 20
Profile Accuracy ................................................................................ 22
Specular Depth .................................................................................. 23
Specular Detail .................................................................................. 24
Object Modeling Depth .......................................................................... 27
Surface Texture ...................................................................................... 32
Profile Accuracy ................................................................................ 32
Specular Depth .................................................................................. 34
Specular Detail .................................................................................. 35
Principle #3: Chaos ..................................................................................... 37
Clutter ..................................................................................................... 38
Randomness ........................................................................................... 42
Non-Uniformity ...................................................................................... 45
Principle #4: Imperfections ......................................................................... 48
III. THE STUDY .................................................................................................... 53
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Texas Tech University, James A. Brenton Jr., December 2007
Fleming’s Principles Examined ....................................................................... 53
New Principles Evaluated ................................................................................ 56
IV. PUTTING IT ALL TOGETHER ......................................................................... 58
Principle #1: Global Illumination ..................................................................... 60
Principle #2: Accurate Object Representation ................................................. 62
Principle #3: Chaos .......................................................................................... 63
End Results ....................................................................................................... 65
The Survey ....................................................................................................... 66
V. CONCLUSION ................................................................................................... 70
VI. FINAL THOUGHTS .......................................................................................... 74
BIBLIOGRAPHY ..................................................................................................... 75
APPENDICES
Appendix A. ...................................................................................................... 76
Appendix B ....................................................................................................... 87
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Texas Tech University, James A. Brenton Jr., December 2007
LIST OF TABLES
1. Fleming’s Principles Evaluated, 2007…...……………………………………….....56
2. New Principles Evaluated, 2007…...………………………………………...……...58
3. Survey, 2007………………………………………………………………………....69
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Texas Tech University, James A. Brenton Jr., December 2007
LIST OF FIGURES
1. Room, http://www.emediawire.com/releases/2005/11/prweb310625.php ..............
..................................................................................................................................1
2. Dominique Laksmana, Room, November 7, 2005...…………….............…........1
3. Bedroom, http://www.emediawire.com/releases/2005/11/prweb310625.php .......3
4. James Brenton, Direct Illumination, 2007…..………………...…......................12
5. James Brenton, Indirect Illumination, 2007…....………………........................12
1. Shkyrka, Living Room, 2006...…………...…………….…….............................14
2. James Brenton, Indirect Illumination, 2007…..……….………….....................15
3. James Brenton, Direct Illumination, 2007…………………...…........................15
4. SHAR, Chimney Room, 2005…...……………...……….…...............................17
5.
Specular reflection,
http://www.olympusmicro.com/primer/java/reflection/specular/index.html
................................................................................................................................18
6. Alaska scenery,
www.accentalaska.com/permenant/Juneau/index.html.........................................19
7. Diffused reflection,
http://www.olympusmicro.com/primer/java/reflection/specular/index.html.........20
8. James Brenton, Specular and diffuse variations, 2007…………………………21
9. James Brenton, Razor Blade, 2007………………………...………….....……..22
10. James Brenton, Planks without accuracy, 2007…………...………………...…24
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Texas Tech University, James A. Brenton Jr., December 2007
11. James Brenton, Planks with accuracy, 2007………..………...………..………24
12. James Brenton, Recorder without spec. depth, 2007.…………...………...……24
13. James Brenton, Recorder with spec. depth, 2007…..…………...……………...24
14. James Brenton, Recorder without spec. detail, 2007……………………...……26
15. James Brenton, Recorder with spec. detail, 2007…..………...……………...…26
16. Dominique Laksmana, Room, November 7, 2005…………………….…..........27
17. James Brenton, Box without object modeling depth, 2007….……....…….……29
18. James Brenton, Box with object modeling depth, 2007…..…..………..…….…29
19. James Brenton, Box without inside depth, 2007.……………..…….………..…30
20. James Brenton, Box with inside depth, 2007………..…..……………………...30
21. Derek Blankenship, Living Room, 2006…………………….…………….……31
22. Mohamed Lotfy, Interior Shot, 2006………..……………………………...…..32
23. James Brenton, Grass from above, 2007…………...…………..….……...……34
24. James Brenton, Grass edge, 2007…………………...…..…....……………...…34
25. Daniel C. Wolf, Audi, 2005……….…………...…..………..………………….35
26. Jose Luis Villar, Bathroom, 2005………….…………......…….……………….37
27. Bill Fleming, Living room uniform, 1998……………………………………....40
28. Bill Fleming, Living room cluttered, 1998..…………………………………....40
29. Maria Prem, Living Room, 2006………………………………………………..41
30. Shkyrka, Living Room, 2006...…………...……………...…...............................42
31. James Brenton, Perfect mortar, 2007…….………...…………..….………...…43
32. James Brenton, Random Mortar, 2007……………...…..………..………….…43
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Texas Tech University, James A. Brenton Jr., December 2007
33. Mohamed Lotfy, Interior Shot, 2006………..……………….…………………44
34. Bryan Jumarang, Condo Interior, 2006……………………………...………….45
35. Bill Fleming, Dining room uniform, 1998………………………………...……47
36. Bill Fleming, Dining room chaos, 1998..…………………………………...….47
37. Jason Jacobs, Great Room, 2006…………………………………………..........48
38. Elif Serencioglu, Silent Memories, 2006…………………………………...........52
39. James Brenton, Collage, 2007…..……………………………………………....54
40. James Brenton and David Hannan, Preston Manor, 2005………………...……60
41. Starbucks Interior, starbucks.com. 2006…..……………………..…………...….61
42. James Brenton, Coffee Shop (global illumination), 2007………...…………….62
43. James Brenton, Coffee Shop (accurate object representation), 2007……..........64
44. James Brenton, Coffee Shop (chaos), 2007………...…………………..………65
45. James Brenton, Coffee Shop (final), 2007…………………….………………..66
46. Coffee house,
http://www.arizonareviews.com/wpcontent/CaveCreekCoffeeCoPhoto.jpg....................67
47. Derek Blankenship, Living Room, 2005…………………….….………………67
48. William L. Reyes, Coffee Shop, 2007………………………...………………...67
49. Scale image 1,
http://search.msn.com/images/results.aspx?q=coffee+house+interior&form=QBIR
#focal=79ea1023572676673ba080f7b12cdbf2&furl=http%3A%2F%2Fwww.csul
b.edu%2Fdivisions%2Fstudents2%2Fintouch%2Farchives%2F200607%2Fvol15_no1%2Fassets%2Fcoffee_shop_sketch_parkside.gif......................68
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Texas Tech University, James A. Brenton Jr., December 2007
50. Scale image 2,
http://search.msn.com/images/results.aspx?q=coffee+shop+interior&form=QBIR
#focal=b51844cab9fe5a52f447b7ce6117d510&furl=http%3A%2F%2Fwww.unic
ornarch.com%2Fdb1%2F00077%2Funicornarch.com%2F_uimages%2FLittleItal
yViewfromServiceCounter.JPG …………………………………………………68
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Texas Tech University, James A. Brenton Jr., December 2007
ABSTRACT
What exactly is photorealism and how do we achieve it? 3D artist Bill Fleming
has already published a book on photorealism claiming that there are 10 principles to
achieving photorealism. But what impact do they have in achieving photorealism in a
very specific form of digital rendering, such as interior architectural images. Although
Fleming gives his readers useful principles to follow, his principles are broad and apply
to images with no specific subject matter. After identifying and condensing his
principles, a new set of principles will be created that is more organized and
understandable.
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Texas Tech University, James A. Brenton Jr., December 2007
CHAPTER I
WHAT IS PHOTOREALISM?
Fig. 1. (left) Real bedroom?; Fig. 2. (right) Digital bedroom?
Introduction
Is either of the two images above digitally created? Can you tell? If not, why
can’t you tell? Whether we realize it or not, photographs contain certain elements which
our eyes recognize and tell our brain whether the photograph is real or not. We
unconsciously recognize these elements because our eyes and brain have been viewing
the world since we were born. Digital images trying to mimic a photograph must include
these elements in order to deceive the viewer into believing the image is real. By
identifying and being aware of these elements, digital artists can have a blueprint for
creating photorealistic imagery. Bill Fleming established an initial blueprint for creating
photorealistic images in his book, “The 3D Photorealism Toolkit.”
In his book, Fleming outlines ten principles of photorealism arguing that at least
eight of his ten principles must be included in any digital image for it to be considered
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Texas Tech University, James A. Brenton Jr., December 2007
photorealistic.1 Although Fleming gives his readers useful principles to follow,
his principles are broad and apply to images with no specific subject matter. Bill Fleming
has provided us with ten principles of photorealism, but what impact do they have in
achieving a very specific form of digital rendering, such as photorealistic interior
architectural images?
Background
Digital artist Bill Fleming has been an accomplished artist for a number of years
and has published two books on creating photorealistic images, “The 3D Photorealism
Toolkit,” and “Advanced 3D Photorealism Techniques.” Fleming’s first book, “The 3D
Photorealism Toolkit” outlines his ten principles of photorealism which are:
1. Clutter and Chaos
2. Personality and Expectations
3. Believability
4. Surface Texture
5. Specularity
6. Dirt, Dust, and Rust
7. Flaws, Scratches and Dings
8. Beveled Edges
9. Object Material Depth
10. Radiosity
Fleming claims that an image must conform to at least eight of the ten principles in
order for it to be considered truly photorealistic.2 Under this assumption it would be
1
2
Fleming, Bill. The 3D Photorealism Toolkit. New York: John Wiley and Sons, Inc, 1998, pg 3.
Fleming, Bill. The 3D Photorealism Toolkit. New York: John Wiley and Sons, Inc, 1998, pg 3.
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logical to assume that two of these ten principles could be left out of an image and that
image could still be considered photorealistic. The problem with this assumption is that
there are certain principles that must be present in every digital interior architectural
image no matter what. But which principles must always be included?
Digital photorealistic interior architectural images differ from most digital images.
Many of the interior architectural scenes we interact with everyday are not perfect nor
anywhere close to it. The spaces we interact with in our everyday lives are typically our
homes and work environments, which are most often in some form of a mess. For the
purpose of this paper we will be primarily studying interior architectural scenes that look
pristine, such as an image seen in the magazine ‘Architectural Digest’ (Figure 3).
Fig. 3. Typical interior architectural scene
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Texas Tech University, James A. Brenton Jr., December 2007
Many of these interior architectural spaces have had some kind of professional
cleaning and prop work done to them. Although these clean interior scenes are this
thesis’s main focus of study, the principles that are defined and studied in this thesis
account for all interior architectural images no matter what form or fashion they are in.
Overview
So what is photorealism? What exactly are we trying to achieve? Photorealism is
the mimicking of reality by means of meticulous attention to realistic detail.3 Most
digital images take into account the broad details we find in everyday life, but in order to
create photorealistic imagery we must account for the subconscious details that our mind
picks up as well. It is in these details that we can begin to truly create photorealistic
imagery. To create this type of realism we must study and examine the world around us
down to the smallest detail and reflect those details in our images. After the details that
influence photorealism are identified and understood; the resulting principles may be
used more effectively to create photorealistic images.
Chapter Two will examine, redefine, re-structure, and add to each of Fleming’s
principles to create a new set of principles. Photorealistic images found on the
professional visualization website www.vismaters.com will be used to show how artists
from all over the world use these principles in their own photorealistic imagery. Chapter
Three will then examine ten photorealistic images to establish whether or not they use the
principles of photorealism. This will determine if in fact these principles must be used or
3
“Photorealism.” The American Heritage Dictionary of the English Language. 4th ed. Boston: Houghton
Mifflin, 2000.
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if some may be omitted when creating photorealistic interior architectural images. In
Chapter Four the author will use the knowledge that has been collected and create a
photorealistic digital image using the new set of principles that were determined to be
necessary. After this image has been created the author will then examine the digital
scene and its photorealistic quality by surveying ten professionals that are in the field of
architecture. Since the scene was built using the new list of principles, this survey will
help determine if the new list is an effective blueprint for creating a photorealistic scene.
Chapter Five will conclude what has been learned and discovered while Chapter Six will
give the reader direction where they can go from here.
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CHAPTER II
FLEMING’S PRINCIPLES REDEFINED
Introduction
The principles that Fleming constructed are reasonably acceptable guidelines for
creating an interior architectural image. The biggest flaw in his argument is his statement
that at least eight of the ten principles must be present in order to achieve a photorealistic
image. Which eight do we need, and can just any two of the ten be left out? It is more
important to know which principles must not be left out, and also to know which
principles are optional in a scene. The other flaw is Fleming’s lack of organization of his
principles. Many of these principles should be under a larger category, and some are
simply too broad and need more clarity. Flemings list of ten principles:
1. Clutter and Chaos
2. Personality and Expectations
3. Believability
4. Surface Texture
5. Specularity
6. Dirt, Dust, and Rust
7. Flaws, Scratches and Dings
8. Beveled Edges
9. Object Material Depth
10. Radiosity
The three tools available to a digital artist when creating a digital scene are
geometry, textures, and lighting. Since a digital artist has only these three tools, it would
be best to organize a new set of principles that compliments them.
6
We will first modify
Texas Tech University, James A. Brenton Jr., December 2007
and condense some of Fleming’s principles in order to create a more comprehensive and
logical list of new principles.
Fleming’s Principles Redefined
Fleming’s first principle is Clutter and Chaos. The author will adjust this
principle to be simply Chaos, with the element of Clutter being a subcategory under
Chaos. The other elements of Chaos will be Randomness and Non-uniformity which will
be later identified and defined.
Principle Two (Personality and Expectations) and Principle Three (Believability)
will be removed from the list of the necessary principles for creating photorealism. The
believability of a photorealistic image is inherent in its creation. An image could not be
considered photorealistic if it is not believable. Personality and Expectations are
dependent on individual perspectives and a viewer’s state of mind. One person may find
an image to be very realistic while another’s opinion is the opposite. For example, a
general expectation of a child’s bedroom is that it is usually messy and cluttered with
toys. Although some people expect the room to appear this way, there will always be
others who do not share this expectation. Regardless if the room in the image is messy or
clean, these expectations do not determine whether or not the image is photorealistic. For
these reasons the author believes that these two principles should not be included on the
list of necessary principles.
Principle Four (Surface Texture), Principle Eight (Beveled Edges), and Principle
Nine (Object Material Depth) are concerned with creating an accurate representation of
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the object(s) through the use of modeling, materials, and/or lighting. The author has
determined that since these three principles are concerned with related topics, they should
therefore be elements within a broader principle which will be termed Accurate Object
Representation. The three elements themselves will also be broken down into subelements which will be elaborated upon later.
Principle Six (Dirt, Dust, and Rust) and Principle Seven (Flaws, Scratches, and
Dings) are reactions to an object’s environment or age. These characteristics, along with
any other types of imperfections, will simply be represented under one principle termed
Imperfections.
The remaining principles are Principle Five (Specularity) and Principle Ten
(Radiosity). These two will be grouped under the larger category of Global Illumination.
This principle accounts for all of the lighting in a scene. The Global Illumination
principle will be divided into two elements which are Sources of Light and Reflection of
Light. These two elements will each have two attributes which are Direct Illumination
and Indirect Illumination, and Specular Reflection and Diffuse Reflection, respectively.
This new list of principles will then be organized according to the three tools that
a digital artist can use (geometry, textures, lighting.) Principle One, Global Illumination,
will be comprised of the aspects of lighting in the digital world. Principle Two, Accurate
Object Representation, will include the aspects dealing with geometry and texture since
they can be used in conjunction. For example, an artist may choose to use geometry to
represent a texture, or they may choose a certain texture map to represent geometry.
Principle Three, Chaos, is concerned with the use of the other two principles and
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placement of objects in a scene. Principle Four, Imperfections, is comprised of
characteristics such as flaws, scratches, dings, and dirt, dust, and rust that make a scene
imperfect. Principle Four will only be used when the context of a scene calls for it. It is
therefore an optional principle and not always needed.
The lighting aspect has been moved to the top of the list due to its importance.
Effective global illumination allows the details in all of the other three principles to be
visible and appear photorealistic. After these modifications we come to our final list of
principles (1-4) and their elements (a,b,c) and attributes (i, ii, iii) which are:
1) Global Illumination
a) Sources of Light
i) Direct Illumination
ii) Indirect Illumination
b) Reflection of Light
i) Specular Reflection
ii) Diffuse Reflection
2) Accurate Object Representation
a) Beveled Edges
i) Profile Accuracy
ii) Specular Depth
iii) Specular Detail
b) Object Modeling Depth
c) Surface Texture
i) Profile Accuracy
ii) Specular Depth
iii) Specular Detail
3) Chaos
a) Clutter
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b) Randomness
c) Non-Uniformity
4) Imperfections
a) Dirt, Dust and Rust
b) Flaws, Scratches and Dings
It is important to note that many of the principles may occur simultaneously
and/or have a direct effect on each other. For example, using the guidelines of Accurate
Object Representation we may gain the necessary specular reflections (Global
Illumination) needed to achieve that particular aspect of photorealism. Also, even if
Principle One and Two are used perfectly, without Principle Three (Chaos) the scene will
be too flawless and therefore not photorealistic. Photorealism is achieved successfully by
taking into account the relationship of these principles and how they affect each other.
New Principles Identified
Principle #1: Global Illumination
Global illumination, or as most people call it “light”, is arguably the most
important of all the principles. So what is Global Illumination? Global illumination is
the realistic simulation of lighting conditions in a computer rendering. “[It] is the
problem of how to solve all the light transfer in a given scene.” 4 “Whether the light
comes from the source or is reflected around the environment, global illumination
4
Gallardo, Arnold. “3D Lighting: History, Concepts, and Techniques.” Massachusetts: Charles River
Media, Inc, 2001. pg 112.
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computes and accounts for it.” 5 Global Illumination is necessary in a scene because the
details of the other three principles would not be visible without it.
When a light source is turned on (or comes into view such as the sun) rays are
emitted from that source with each ray having a certain amount of energy. As the rays
strike a surface, or multiple surfaces, they then reflect off of that surface and lose energy.
The attributes of that surface affect how the ray bounces off of the surface, how much of
the ray is absorbed, and how much energy it loses. For instance, if a ray bounced around
a room with perfectly smooth and clean mirrors, it would lose less energy than it would
bouncing around a room with bumpy black walls. The computer takes the information
from scene to calculate the rays and provide global illumination for the scene. Since the
rays react this way, Global Illumination can best be divided into two elements, the
sources of the light and the reflections of the light.
The first element under Global Illumination is the Source of Light. Its two
attributes are Direct Illumination and Indirect Illumination. The second element is the
Reflection of Light. Its two attributes are Specular Reflections and Diffused Reflections.
Each of these elements and the accompanying attributes must be present in a scene for it
to be photorealistic.
5
Gallardo, Arnold. “3D Lighting: History, Concepts, and Techniques.” Massachusetts: Charles River
Media, Inc, 2001. pg 112.
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Direct Illumination
Direct Illumination can be defined as the illumination resulting from the rays of
light that directly strike an object from a light source that have not yet begun to reflect.
Simply put, direct light can be seen only on the first object that the ray encounters when
the light source is first turned on. A good example of this is Figure 4 and Figure 5.
Fig. 4. (left) Direct illumination; Fig. 5. (right) Indirect illumination
Figure 5 illustrates a scene with reflecting light (direct and indirect light) and
Figure 4 shows the scene with direct light only. Figure 4 makes it easy to visualize the
concept of direct light. The only part that is illuminated is where the light rays make their
first contact. In this example the only light source is the lamp, so only the portion that is
visible is from only direct light. After the rays make this initial contact and begin
reflecting, those rays are no longer known to be direct light but indirect light. The use of
direct illumination is apparent in “Living Room” by Shkyrka (Figure 6).
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Texas Tech University, James A. Brenton Jr., December 2007
Fig. 6. Living Room
The most apparent example in this scene is the direct illumination from the sun
shining into the room. It directly illuminates the window sill (Object 5), couch (Object
4), and floor (Object 3) creating brighter “hot spots” on all of them.
The sun is responsible for most of the illumination in this space, but other examples of
direct illumination can be found. Object 1 shows how the four canned ceiling lights are
directly illuminating the walls that they are adjacent to. These lights are also directly
illuminating the books and shelf beneath them even though it is not completely apparent
in the scene from this camera angle. The triangular “hot spots” that are being created on
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the walls are due to the shape of these canned lights. Since the light contacts these walls
first, it creates this effect. Object 2 demonstrates how a similar “hot spot” is created from
the floor lamp. The lamp shade in this case catches most of the direct light, but some of
that direct light escapes through the top of the shade and we can see the resulting “hot
spot” on the wall to the right of the lamp. It is very important to note that in many spaces
we only notice the direct light coming from a lights source; but it is actually the indirect
light that illuminates a room as seen in Figure 7 and Figure 8.
Indirect Illumination
Fig. 7. (left) Indirect Illumination; Fig. 8. (right) Direct Illumination
Indirect illumination is the illumination of objects caused by reflected light. After
a light ray encounters the first object and reflects off, the illumination caused by that
reflection and the subsequent reflections, is indirect illumination. Indirect light is the
reason we can see underneath our desks or tables even though no light is shining directly
on the area. “For example, if a bright light were aimed at the ceiling of a room, light
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Texas Tech University, James A. Brenton Jr., December 2007
reflected from the ceiling would indirectly illuminate the floor and walls.” 6 This indirect
illumination can also be seen by a floor lamp for example. These lamps seem to
illuminate the entire room, even though the lamp only points up and the light only
directly strikes the ceiling, as seen here again in Figure 7 and Figure 8.
The “The Chimney Room” by SHAR (Figure 9) is a great example of the use of
Indirect Illumination. The only apparent direct light source is the sunlight coming in
from the windows. All other light sources in this room seem to be turned off. Even
though the light level is low, the parts of the room such as the chair back (Object 1), the
door hidden by the wall (Object 2), and everything underneath the dining table is clearly
and distinctly visible. How are these details able to be seen? Indirect Illumination
accounts for all of this.
6
Birn, Jeremy. “Lighting and Rendering.” Indiana: New Riders, 2000. pg 241.
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Texas Tech University, James A. Brenton Jr., December 2007
Fig. 9. Chimney Room
The small amount of direct light provided by the outdoor light source through the
windows is reflecting all over the room, thereby illuminating this space. We can easily
follow the sunlight from the window to determine the portion of the interior lit by direct
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Texas Tech University, James A. Brenton Jr., December 2007
light. The couple of chairs by the dining table and the bottom portion of the wall
opposite the windows are lit by direct illumination. But the detail of the crown molding
and trim work is revealed only by the indirect reflection of light onto the ceiling. The
chair back (Object 1) obviously isn’t being illuminated by the sun; it is on the wrong side
of the light source to be catching light, so therefore it must be illuminated from bounced
light. The same effect occurs on the far left door into the far room (Object 2). The side
of the door facing the viewer does not face the windows yet it is still being illuminated.
Indirect illumination often accounts for a majority of the illumination in any given space
and in order to create a photorealistic scene this must be present.
Specular Reflection
A Specular Reflection, “occurs when incident light is reflected, without diverging,
in the ‘mirrir’ direction.” 7 In Figure 10 we see a perfect instance of specular reflection.
Fig. 10. Specular reflection
7
Watt, Alan H. “3D Computer Graphics.” England: Addison-Wesley, 2000.
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The light exits at exactly the same angle as it came in. Most often something
impedes the ability of the angles to be exactly perfect (i.e. dirt on a mirror). But these
obstacles are so minute that these angles usually come very close to being the same in
and out. A good example of a specular reflection would be the calm glassy surface of a
lake in which the scenery seems to be a perfect mirror of itself onto the water (Figure 11).
Fig. 11. Alaska scenery
Diffused Reflection
Diffused Reflection reflects the light equally in all directions and such a surface is
usually called matte (Figure 12). The light contacts the surface from one angle but upon
exiting is dispersed in multiple angles.
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Fig. 12. Diffused reflection
A good example of a diffuse reflection would be the difference between matte and
glossy paints. The matte paint would have a higher level of diffuse reflection. This
would in effect create its “flat” appearance, because most of the light is reflected at
scattered angles. Conversely, the glossy paint would have a low level of diffuse
reflection but a high level of specular reflection (Figure 13). It appears glossy because
more light reflects at closer to same angle as it came in.8
8
Watt, Alan H. “3D Computer Graphics.” England: Addison-Wesley, 2000.
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Fig. 13. Specular and diffuse variations
Principle #2: Accurate Object Representation
To achieve photorealism one must accurately portray objects as they appear in the
real world; or by the definition of photorealism: by means of meticulous attention to
realistic detail. This idea sounds simple enough, but too often digital artists overlook the
detail in their objects, which takes away from the object’s photorealistic quality. This
detail that is necessary to achieve photorealism is created by certain elements in a scene.
These elements are beveled edges, object material depth, and surface texture.
Beveled Edges
If you take a closer look at any manufactured object, you will notice that none of
the edges of those objects are perfect ninety degree angles. They all have a bevel along
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Texas Tech University, James A. Brenton Jr., December 2007
the edge. This is due to either the impossibility of a perfect edge, and also, “…to ensure
that people do not harm themselves on those edges.9 A bevel is defined as the dampening
of harsh right angle edges and although some may be minuscule, every manufactured
object has a beveled edge.
Usually, the only items close to being without a beveled edge are sharp cutting
utensils, but even those objects have some kind of bevel on a minute level. For example,
the GEM scientific razor blades are measured to be 0.23mm along the cutting edge and
up to 1mm along the top of the blade; which means that even this blade’s sharpest edge
does not come together at a perfect point (Figure 14).10
Fig. 14. Razor blade edge
But how exactly does a bevel help create photorealism? Since almost all of the
objects contained in any interior architectural scene are most likely manufactured it is
important to account for these beveled edges. Beveled edges not only serve to ensure
9
Fleming, Bill. The 3D Photorealism Toolkit. New York: John Wiley and Sons, Inc, 1998, pg 99.
http://www.2spi.com/catalog/tools/smtol14.shtml
10
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correct and detailed modeling but also, and more importantly, reflect the light more
realistically.
The most important effect that beveled edges have on a model is that the bevel
allows the object to show specular highlights. The beveled edges facing a light source
will pick up reflections from that light source. This will create photorealistic specular
highlights on the object. This reflection is especially important on darker colored objects
to aid in bringing out the objects detail. The specular highlight that a beveled edge
creates is important because it demonstrates an object’s depth and detail (if it exists.)
Beveled Edges assist in creating an object’s photorealism through profile accuracy,
specular depth, and specular detail.
Beveled Edges: Profile Accuracy. When an object’s profile and/or edges are
noticeable, it is crucial to make sure that the edges and profile of that model are portrayed
accurately. Beveling the edges of the object eliminates the harsh right angles that the
computer creates, thereby creating smoother, manufactured looking edges. Figure 15
shows how this type of floor would look if the profile of this type of material was not
taken into account. Figure 16 looks much more photorealistic due to the detail in the
floor, the beveled edges, and the profile accuracy of the material are taken into account.
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Fig. 15. (left) Planks without accuracy; Fig. 16. (right) Planks with accuracy
Beveled Edges: Specular Depth. Beveling the edges of an object also allows
light to reflect off of that object at different angles and in more areas which reveals the
depth of the object (Figure 17 and Figure 18). These small bevels reveal the specular
depth of the model while creating a photorealistic quality that would not be visible
otherwise.
Fig. 17. (left) Recorder without spec. depth; Fig. 18. (right) Recorder with spec. depth
Figure 18 is Fleming’s example of the specular depth that can be achieved by
beveling the edges of objects. In Figure 17 and Figure 18 the lighting conditions
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remained the same while the modeling of the object was changed. Figure 17 appears flat
and dull due to the edge of this recorder not being beveled. Without the bevel, there are
very limited angles for the light to reflect off of. Conversely, Figure 18 has been modeled
with beveled edges and therefore the depth that is created by these beveled edges is
clearly apparent. The bevels allow more light to penetrate the model and reflect back to
the viewer. Due to the subtle differences that beveled edges create; an object can appear
to be more, or less photorealistic.
Beveled Edges: Specular Detail. Specular Detail is also characteristic of objects
with beveled edges. In the real world it is often the specular reflection from an object’s
edge that reveals the object’s details (Figure 19 and Figure 20). Beveling the edges of
even the smallest modeled details will produce a realistic quality that will help achieve
photorealism. When modeling a beveled edge, it is also important to consider whether
the beveled edge, or the specular highlight it creates, is visible in the final image. If the
object is so far away in the scene that small details are lost anyway, leaving these details
out will not affect the scene‘s photorealistic integrity, and it is probably not necessary to
model to this level of detail.
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Fig. 19. (left) Recorder without spec. detail; Fig. 20. (right) Recorder with spec. detail
Figure 19 and Figure 20 are similar models under the exact same lighting
conditions. The only difference is in the details of the buttons on the cassette player.
Figure 20 has these details beveled, which allows light to bounce off of the edges at
multiple angles. This reveals the specular detail of the beveled edges and allows them to
be seen when otherwise they would not be. Many of these attributes can be seen in
Figure 21.
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Texas Tech University, James A. Brenton Jr., December 2007
Fig. 21. Room
The “Room” created by Dominique Laksmana, Figure 21, has many great
examples of how beveled edges can be used to create profile accuracy, specular depth,
and specular detail. The ceiling in this space is an area in which beveled edges bring out
specular detail that would otherwise not be there. Object 1 in Figure 21 is a clear
example of the photorealistic quality that beveled edges can bring to the details in a
scene. The crown molding in this example is accentuated by its specular details. This
beveling not only accentuates the crown molding’s details, but also the details of the
corner, which helps to provide depth to this space. Object 2 reveals the specular depth
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that beveling can create in fabric creases, making the curtains in this scene appear to
‘pop’ off the wall. Example Three illustrates beveled edges that create specular details in
a dark wood that would normally be hard to see. Details in dark woods only appear when
specular highlights occur. In this example, it is because the artist beveled the edges of the
wood headboard.
Object Modeling Depth
As Fleming states, “All real-world object materials have depth.” 11 There are only
a few objects in the real-world that have a depth that would resemble the thickness of a
single polygon, such as paper, but too often digital artists represent numerous objects this
way.12 Simply put, an object’s modeling depth should be the thickness of the object’s
material. Although this principle seems easy enough to understand and just as easy to do,
few digital artists take into account this simple principle. Fleming’s cardboard box
example shows just how often this simple principle is overlooked (Figure 22 and Figure
23).
11
12
Fleming, Bill. The 3D Photorealism Toolkit. New York: John Wiley and Sons, Inc, 1998. pg 25.
Fleming, Bill. The 3D Photorealism Toolkit. New York: John Wiley and Sons, Inc, 1998. pg 25.
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Fig. 22. (left) Box without object mod. depth; Fig. 23. (right) Box with object mod.
depth
Figure 22 is the author’s rendition of a typical artist’s digital model of a cardboard
box. Notice there is no depth to the cardboard box’s geometry. In Figure 23 Fleming
models the same cardboard box takes into account the detail and layers that are in the
sheet of cardboard. Although cardboard is not a very thick material it does have a
thickness and that thickness must be represented; this level of detail is especially
important as we get closer to the object in the scene as it is with beveled edges. The
attention to geometric modeling details adds an additional level of fidelity to the object
and increases its level of photorealism (Figure 24 and Figure 25).
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Fig. 24. (left) Box without inside depth; Fig. 25. (right) Box with inside depth
Here is another example of object modeling depth using this same cardboard box
as an example. Like the previous example Figure 24 has no object depth where as figure
25 does making it much more photorealistic. Figure 25 has another feature about it that
makes it more photorealistic as well. We can see the inside of both boxes but the box in
figure 24 shows the flaps and how it was made. Cardboard boxes are manufactured from
a single sheet of cardboard then scored, folded, and glued together. Figure 24 is seamless
which is not realistic. Figure 25 is more realistic, because this cardboard box’s geometric
construction reflects how it was built. When modeling an object we must consider how
that object was made in real life and how that process affects our scene. Another
example of modeling depth is the striped rug in Figure 26.
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Fig.26. Living Room
Although this artist used a bump map to try and compensate for some of the depth
in the material, no physical thickness is apparent along the edges of the rug. The edge of
the rug appears to be a single polygon which would only be acceptable if the camera
angle was directly above the rug. This type of rug would be a relatively thin material in
any case but not this thin. This particular artist did not take into account how the
thickness of this object takes away from the photorealism in the scene.
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Fig. 27. Interior shot
In comparison artist Mohamed Lotfy gives an outstanding example of how object
material thickness of the rug in his scene can be used to add photorealism to the finished
image (Figure 27). Lotfy’s rug, although inherently much thicker the material in Figure
26, adds an element of photorealism to his scene. This shaggy rug has a thick object
modeling depth which Lotfy understands and uses to his advantage. Subtle shadows
under and around the rug help to enhance the rugs object modeling depth making the
image truly photorealistic.
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Texas Tech University, James A. Brenton Jr., December 2007
Surface Texture
How many surfaces are perfectly smooth? Other than glass there is not many and
in many cases neither is glass. Too often digital artists forget to take into account the
details in the textures they create. Every material has some kind of surface texture.
Surface texture is the roughness or smoothness of the surface. Taking into account the
roughness or smoothness of a texture will not only help the surface of the object look
more photorealistic but improves specular appearance of the object. Often the specular
highlight of the object - similar to beveled edges - helps to reveal the surfaces texture and
details. For example, most woods often have finishes painted on their surface but even
that is not perfectly smooth. The finish seeps into the grain of the wood settling there
leaving a new smoother surface texture but still not perfectly smooth.
Surface texture is very similar to beveled edges because they both contain the
three same elements which are profile accuracy, specular depth, and specular detail. The
difference between the two is that beveled edges deal typically with changes to the
geometry of an object whereas surface texture is typically changed within the texture of a
material.
Surface Texture: Profile Accuracy. Whether a surface texture is as bumpy as
grass or as sleek as glass, every surface’s texture has a profile that must correspond to its
texture. For example, a piece of glass’ profile is simple to create due to its sleek nature
(unless, of course, there is some kind of undulation to it). Grass on the other hand would
be much more complex due to its many blades and uncontrollable features (Figure 28 and
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Figure 29). When a material is used that has an inherent roughness to it, that
characteristic must be taken into consideration if the profile of that object is seen. A
basketball’s profile for example would not be a perfect circle but have little bumps all
over representing the sticky texture applied to basketballs.
Fig. 28. (left) Grass from above; Fig. 29. (right) Grass edge
In Figure 28 we see a typical grass material. This material looks for the most part
photorealistic considering the angle we are viewing it at. Seeing the edges of the same
material as in Figure 29 it is easily apparent that this material no longer looks
photorealistic what so ever. A grass material would not converge to a single straight line
as it does in Figure 29, unless of course were looking at it from miles away in which case
we can not really tell anyway. A material’s roughness or even smoothness must always
correspond with its correct profile accuracy for it to be photorealistic. Considering one
without the other can be detrimental to a scenes photorealism.
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Surface Texture: Specular Depth. If the objects surface has a roughness to it,
how the light is going to react to that surface must be taken into account. If the surface is
extremely rough with deep crevices such as the bark on a tree, using either geometry or
textures to represent that object must then be considered. The specular depth of a texture
has to do with the edges of the object that receive the light rays. Usually beveling the
edges of the geometry accomplishes accurate portrayal of this specular depth, but in other
instances a separate texture map will have to be created.
Fig. 30. Audi
The Audi car (Figure 30) scene by Daniel Wolf is an excellent example of
specular depth in the road the car is sitting on. This cobble stone road has very deep
crevices and spaces that need to be accurately portrayed in order for it to look realistic.
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This artist took specular depth one stop forward by adding a puddle between some of the
stones near the car enhancing the depth of this stone.
Surface Texture: Specular Detail. Specular detail is similar to specular depth
except that specular detail is found more on an objects surface instead of its edges. If an
object has an extremely rough surface then again a separate texture map must be made to
account for its look and light reflection. This can be readily seen in Figure 31.
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Fig. 31. Bathroom
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In Jose Luis Villars’ bathroom scene, Figure 31 is a great example of specular
detail. The bathroom towel is a pristine example of how specular detail can add to a
scene. The towel is in the main frame of view and therefore the eye automatically focuses
on the towel. It is because the towel looks so real that lends to the scenes photorealism.
Here we can see almost every thread on the towel making it look extremely
photorealistic. The ability to see each thread is due to the specular detail.
Principle #3: Chaos
Chaos is everywhere and in every environment we encounter. This is not to say
that everything is pure chaos and out of control, but that we come across many different
levels of chaos everyday and do not even notice many of them13. From the picture frame
hung on the wall that one tried for an hour to get perfectly straight; to the office that has
books and papers everywhere because you are in the middle of a project- different levels
of chaos are everywhere. Furthermore if you were to look at a photograph and see
everything in the image perfectly aligned, you would not think it was realistic because
nothing in our lives ever appears this way14. Overall, chaos is necessary because of its
prevalence in everyday life. Photorealism in interior architectural image is unattainable
without taking into account the importance of chaos.
There are three elements of chaos that are regularly found in a photorealistic
image – clutter, randomness, and non-uniformity. The presence of the elements of chaos
can be empirically visualized and further analyzed, resulting in a better understanding of
13
14
Fleming, Bill. The 3D Photorealism Toolkit. New York: John Wiley and Sons, Inc, 1998.
Fleming, Bill. The 3D Photorealism Toolkit. New York: John Wiley and Sons, Inc, 1998.
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chaos and its role in photorealistic interior architectural renderings. These three elements
can be observed through the geometry, textures, and lighting used in a scene. Placement
of individual objects in a scene has the ability to create clutter, randomness, and/or nonuniformity and incorrect placement of the same objects often creates a sterile, nonrealistic. In general, the use and/or combination of these elements in a scene determine
the amount of chaos present and therefore impact its overall photorealism. Let’s look
more closely at the three elements and how they shape an interior architectural rendering.
Since chaos must be present to achieve a photorealistic image, at least one of
these three elements must also be present. Often the elements cooperate with each other
to achieve an effective level of chaos. There are instances in which one element is
present due to the effects of another element and also instances in which a single object
possesses multiple elements.
Clutter
Human interaction is present in all interior architectural environments; the effects
of this interaction must be accurately depicted to achieve photorealism (Figure 32 and
Figure 33). The term clutter best defines this interaction. Clutter is, “to fill or cover with
a disorderly scattering of things.” 15 Clutter’s definition for this study is ‘the scattering of
objects that is the result of controlled human interaction with the environment. Human
interaction, however, does not always result in clutter.
15
“Clutter.” Merriam-Webster Dictionary. Massachusetts: Merriam-Webster, Inc, 1997.
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Fig. 32. (left) Living room uniform; Fig. 33. (right) Living room cluttered
Bill Fleming’s living room images of visual order versus clutter are perfect
examples of how clutter can add photorealism to a scene. In both of the images the room
itself is disordered with the furniture having objects thrown on them and pillows not lined
up. But if we look at the coffee table in each of the scenes, the objects on the table in
Figure 32 are too uniformly placed based on the context and look unnatural. The table in
Figure 33 where the objects are disordered is much more natural and enhances the
photorealism the image.
Not only would you never see a coffee table appear as it does in the Figure 32, but
you would definitely not see one appear that way in a room that looks the way this one
does. The amount of clutter in a scene is usually based on the context of the scene as we
will see later on. This example not only shows us how clutter can add realism to a scene,
but more importantly how precise organization actually takes away from the realism in a
scene.
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Fig. 34. Living Room
“Living Room” by Maria Prem (Figure 34) is an example of a room that does not
appear to be in use often (or perhaps staged for a photographic shoot.) The coffee table is
clean with no items left on it and everything seems to be in place. However, if we look at
the three pillows on the couch, they are not spaced out evenly. This clutter tells us that
someone interacted and appears more natural and therefore more realistic. If the pillows
were spaced out evenly and had perfect ninety degree corners on them, a sense of realism
would be lost even in an environment as pristine as this one. Every architectural space is
occupied at some point in time and those spaces should reflect the interaction that
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happens within them. Maria Prem used just enough clutter mixed with order to help
make this scene photorealistic, but not distract from its staged pristine context.
Fig. 35. Living Room
“Living Room” by Shkyrka (Figure 35), uses clutter to make this living room
appear more inhabited, like many living rooms. The space is filled with books and we
can tell is used often by the way the books are placed back on the shelf. Since the books
are cluttered on the shelf we expect that same clutter throughout the room like the objects
on the coffee table. Shkyrka keeps with the context of the room by adding clutter to the
table and pillows, increasing this scenes level of photorealism.
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Texas Tech University, James A. Brenton Jr., December 2007
Randomness
Randomness, the second element of chaos is defined as happening by chance, or
having a haphazard characteristic.16 Randomness is most often seen in nature, but
occasionally is found in manmade objects and interactions. Anything that nature creates
is considered random because of its uncontrollability and unpredictability. An example
of natures randomness can be found in a tree or house plant which can not be controlled
by humans to grow exactly how we want it to. An example of a random human
interaction would be a person walking over a carpet. They can not control exactly how
the weave of the carpet reacts and stays after being walked over. Although randomness
can occur due to human interaction, it must be noted that it is typically an unconscious
act (Figure 36 and Figure 37).
Fig. 36. (left) Perfect mortar; Fig. 37. (right) Random mortar
16
“Randomness.” Merriam-Webster Dictionary. Massachusetts: Merriam-Webster, Inc, 1997.
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The bricks mortar in Figures 36 and 37 is good example of the randomness
found in a materials texture. If the mixture of the mortar was perfect it would appear as it
does in figure 36, but figure 37 is a more realistic representation of the texture with its
random bumps and grain. Without this randomness in its texture, the bricks mortar
would never look photorealistic. Not visible here however, a good example of
randomness from human interaction comes for the actual thickness of the mortar, which
would always be a slightly different thickness. This brick pattern does not look as
photorealistic as it would if the mortar joints were slightly different thickness and the
bricks were not lined up so accurately.
Fig. 38. Interior Shot
In Mohamed’s Lotfy’s “Interior Shot (Figure 38),” he uses randomness in two
places. The first place he creates this chaotic element is in the plant. The stalks and
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leaves are all different sizes and positions mimicking nature’s randomness and
uncontrollability through growth. Nature does not make plants that are perfectly
symmetrical and Lotfy uses this fact to make his plant appear realistic.
The second way Lotfy creates randomness is in the rugs texture. The rug is
shaggy with the single strings of it bending and pointing out in all directions. People
most likely walk across this rug changing its shape from time to time. Since the details in
the fabric of the rug can not be controlled by humans, it is considered random. If all of
the rugs texture pointed in the same direction it would not appear to be a realistic shaggy
texture. So the randomness due to nature’s natural influence in the plant and in the rugs
shaggy texture help to create chaos in this scene making it appear more photorealistic.
Fig. 39. Condo Interior
Another excellent use randomness to achieve photorealism is in Byran
Jumarang’s (Figure 39) use of texture in the shear curtains he placed in front of the
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window. Although the owner has control of where he hangs the curtains and if they are
open or closed, he can not control the fabric once they are hung. The curtains will drape
down however the material naturally reacts. If Jumarang were to model these curtains
with perfect symmetry making each crease and wave exactly the same, we would
immediately know that this image was simulated, because of this unnatural characteristic
of the material and our visual experience of curtains in the past.
Non-Uniformity
The third element of chaos, non-uniformity, can be defined as the inability of an
object to exist in exactly the same state and/or in perfect alignment with another object.17
In the real world, perfection is achievable in conception but impossible to achieve in
actual creation due to the influences of human error. Although objects may appear to be
exact duplicates or in perfect alignment with each other, there is always some form of
error regardless how minute. It is up to the artist to evaluate how minute the nonuniformity is and either do something about it or not. Figure 40 and Figure 41 are great
examples of how Non-Uniformity can add photorealism to a scene.
17
“Non-Uniformity.” Merriam-Webster Dictionary. Massachusetts: Merriam-Webster, Inc, 1997.
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Fig. 40. (left) Dining room uniform; Fig. 41. (right) Dining room chaos
Bill Fleming’s dining room table images are a perfect comparison to show nonuniformity of objects. Here it is important to note the difference between clutter and nonuniformity. Clutter deals with multiple objects interacting with each other and nonuniformity deal with one object being out of alignment with another. For example, in
figure 40, the table as a whole would be considered clutter, all the chairs are messed up
and plates and food are everywhere. The non-uniformity is the picture would be that a
plate is not in the exact center of the table setting, or that the hamburger is not in the
exact center of the plate. It is within these multiple non-uniformity’s that clutter arises;
but all clutter begins with non-uniformity.
Another great example of non-uniformity in Fleming’s dining room example is
the chairs around the table. If this were your dining room table you would probably leave
it as it appears in figure 40, trying to make it look as nice as possible when it is not in use.
Non-uniformity comes into play because to matter how hard you try to make all the
chairs even and exact same angles, they will always be off, I even by a hair. Only in
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conception or in the computer may we get them to be exact. This is why non-uniformity
is so important to photorealism because we must mimic exactly what we can and can not
do in real life (Figure 42).
Fig. 42. Great Room
One can see non-uniformity in a couple of places in Jason Jacobs “Great Room
(Figure 42)”. The most effective place that Jacobs uses non-uniformity is in the picture
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frame hung on the wall. It appears to be hung level but it is definitely not laying flat
against the wall. Too often do digital artists place picture frames right up against the wall
and do not take into account that some kind of fastener and wire are holding the frame to
the wall; that that fastener sticks out from the wall and the wire has a certain level of
slack in it. Jacobs takes into consideration that a heavier frame such as this one would
need extra support behind it making it most likely stick out from the wall at the top of the
frame a bit. This use of non-uniformity in this scene helps to add chaos and in turn
making it more photorealistic.
Principle #4: Imperfections
The last principle is imperfections. An imperfection in common conversation
could me a variety of things but here we want to focus on imperfections that are solely
architectural in nature. Also important to note is that typically an imperfection is a
negative thing, but for our purposes it is often something that will improve the
photorealism of the image.
Imperfections can happen in an objects geometry, texture, or lighting just like the
rest of the principles. Imperfections in geometry are typically factory defaults. Examples
of this would be a piece of wood that has a bow in it or a lamp has a huge dent in it.
Examples of imperfections that can happen in an objects texture could be paint that’s
peeling of the walls or rust on a sinks faucet. Lastly imperfections that happen in lighting
are typically due to air quality. Light that shines into a window and shows the speckles
of dust floating about is considered an imperfection or even the waves of heat that seem
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to disperse the air on a road during a hot day. Imperfections in lighting will be anything
that makes the air not perfectly clear.
Although imperfections appear in our world every day, it is important to note that
they rarely appear, or at least are not visible, in most interior architectural scenes. As
stated before, the interior architectural scenes reviewed in this paper are of magazine
quality which have been cleaned by professionals and are made to look as near to pristine
as possible. Therefore this principle as it pertains to interior architectural images depends
on the context of the architectural environment that is being rendered and the intent of the
image. For instance a new home designed by an architect would typically be rendered as
pristine and unused to communicate to the newness of the construction. Many of the
actual photographs in architectural magazines present this pristine condition and the
viewer expects this and accepts it. But an interior image created for a different context
and purpose such as an adaptive reuse of an existing building would have to include some
of the earlier imperfections of the existing building to be believable as a renovation to an
existing building.
Fleming discusses how perfect scenes or objects are just not natural and that one
of the best things about reality is that nothing is perfect (pg 117). Although this is true he
also states that it is likely that that the objects in our homes are relatively unscathed (pg
117). On some minute level every object has some kind of imperfection but too often
these imperfections are so far away from the camera that they would not even be able to
be seen in our images. For this reason it is important to think about imperfections and if
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Texas Tech University, James A. Brenton Jr., December 2007
a scene needs them, but they are not a must in achieving photorealism like the other three
principles are.
The computers default when creating an object is to create everything perfect, it is
up to the artist to recognize this ‘flaw’ and correct it in order to achieve photorealism.
Fleming has two principles which fall into the imperfections category and they are dirt,
dust and rust, and flaws, scratches and dings. It is up to the artist and the scenes context
as to how flawed or perfect a scene should appear. Subconsciously viewers will notice if
a scene is too perfect, and it is the imperfections that often can trick their mind into
believing the scene is real.
Until now we have not seen any imperfections because the artists choose to make
there scenes pristine and is has been these types of scenes that have been the main focus
of this paper as earlier stated. It’s not that no imperfections were in these scenes but that
the imperfections were so minute that the artist simply choose not to show them because
the viewer would be able to notice them anyway.
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Fig. 43. Silent Memories
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Texas Tech University, James A. Brenton Jr., December 2007
In Figure 43 we see a multitude of imperfections. The most noticeable
imperfections come from the cracks and aging that appears in the walls and mantel. Of
course maybe the owner of this space painted his walls purposely like this but given the
older context of this scene, it is fair to assume that these are imperfection in the walls.
Another great example of an architectural flaw is in object #. We see that the wall socket
is no longer flush against the wall. This flaw shows the prolonged use of this wall socket
revealing the age and context of this scene.
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Texas Tech University, James A. Brenton Jr., December 2007
CHAPTER III
THE STUDY
Fleming’s Principles Examined
Fig. 44. Collage
To better understand the process of achieving photorealism, the author chose to
study closer the principles and their role in photorealistic interior architectural images.
Ten interior architectural images (Figure 44) were chosen from the website
www.vismasters.com to be examined for their photorealistic qualities. All of the images
on www.vismasters.com have already been judged by a panel of experts in the
visualization field as being photorealistic. The ten images will then be analyzed using
both Fleming’s and the author’s principles of photorealism.
The first analysis was of Fleming’s original ten principles. Since these images
were already judged to be photorealistic they should adhere to Fleming’s eight out of ten
rule. The author examined each of the images to determine whether each of Fleming’s
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Texas Tech University, James A. Brenton Jr., December 2007
principles occurred at least once, then documented this by charting out their occurrences.
If the principle occurred, an ‘X’ will be used; and if the author could not judge or could
have a biased opinion for any reason a ‘?’ mark was used.
It is important to note that principles two (personality/ expectation) and three
(believability) can not be fairly judged. In other words, what meets the author’s personal
expectations may be different than what meets someone else’s. For example, the author
would not expect a child’s room to be perfectly neat and clean, with no toys or clutter on
the floor; but that doesn’t mean it never happens, or that a scene appearing that way can
not be photorealistic. For this reason the author did not evaluate these principles and
placed “?” marks instead of “X’s” for these rows.
Another principle that was judged differently is principle nine, object material
depth. This was evaluated as though every object has some kind of depth to it. Instead of
finding one instance of this principle (as the rest are judged), we must make sure that all
objects in the scene have a depth and not just one. Obviously, one object with the correct
object material depth does not make the entire scene photorealistic. Therefore if an “X”
was marked, no errors in the object material depth of any objects in the scene were found.
Principle Nine (Radiosity) was also not judged. For the purpose of this evaluation
it was assumed to exist. Fleming describes radiosity as the, “indirect light that is
distributed between objects (cite294.)” All of the images contain direct and indirect light.
To show specifically where radiosity exists would be impossible since it occurs almost
everywhere.
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Texas Tech University, James A. Brenton Jr., December 2007
The full evaluation of the ten images can be found in Appendix A (page 71)
including each image and the description of where the principle was found. Table 1 lists
the conclusion of the evaluation.
Table 1
Image #
Principle
Clutter and Chaos
Personality/ Expectations
Believability
Surface Texture
Specularity
Dirt/ Dust/ Rust
Flaws/ Scratches/ Dings
Beveled Edges
Object Material Depth
Radiosity
1
2
3
4
5
6
7
8
9
10
X
?
?
X
?
?
X
?
?
X
?
?
X
?
?
X
?
?
X
?
?
X
?
?
X
?
?
X
?
?
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
Table 1 lists each of Fleming’s principles of photorealism and whether or not they
appear in each of the ten images chosen. Assuming that the principles personality/
expectations and believability are all apparent in these images; eight out of ten principles
did in fact occur in each of the ten images. But was Fleming correct? Can we just pick
eight of his ten principles and create a photorealistic image? No! What this table reveals
to us is precisely the opposite. Not just any eight principles, but very specific ones
repeatedly appear in photorealistic images. Principles six and seven rarely appeared, but
his principles one, four, five, eight, nine, and ten always appeared. This is not
coincidence because in order to create photorealism one must mimic reality. These
principles are permanent parts of reality and therefore must always be present. After
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Texas Tech University, James A. Brenton Jr., December 2007
evaluating these principles it is apparent that some are more important than others and
also that some must occur.
New Principles Evaluated
The new principles were created with the restriction that the first three of
Fleming’s principles absolutely must be present in a scene for it to be considered
photorealistic with only one principle being optional. Unlike Fleming’s rule, there is no
option to choose which principles appear. Instead, a clear list of principles defines which
ones must be present. [This is with the exception of principle 4, which is only used if the
scene’s context calls for it.] Using the same evaluating system as before, we will reevaluate the same ten images, to determine whether each of the new principles is
included.
The full evaluation of the ten images can be found in Appendix B (page 82)
including each image and the description of where the principle was found. Table 2 lists
the conclusion of the evaluation.
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Texas Tech University, James A. Brenton Jr., December 2007
Table 2
Image #
Principle
1. Accurate Object Rep.
Beveled Edges
Object Material Depth
Surface Texture
2. Chaos
Clutter
Randomness
Non-Uniformity
3. Global Illumination
Specularity
Diffuse
Direct Illumination
Indirect Illumination
4. Imperfections
Dirt/ Dust/ Rust
Flaws/ Scratches/ Dings
1
2
3
4
5
6
7
8
9
10
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
According to Table 2, each of the author’s principles was found in each of the ten
images. One can then conclude that Fleming’s principles can be reorganized and reduced
to a simpler and more comprehensible list. This new set of principles can act as a
checklist of elements that must be present in a scene for it to be considered photorealistic.
Although the principles have been reorganized and condensed, simply having
them does not make a scene photorealistic. But by the same notion, a scene will not be
photorealistic without them. This new list is a general list in creating photorealistic
images. There is still more to creating realistic image not covered here, but because of
this evaluation, we have a new list that is more lucid and more structured. The principles
that must appear and the principles that only occur sometimes are clearly defined. The
guesswork has been removed and there is a definite answer to what an interior
architectural image must contain.
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Texas Tech University, James A. Brenton Jr., December 2007
CHAPTER IV
PUTTING IT ALL TOGETHER
The study and evaluation of Fleming’s ten principles led to a new understanding
of the elements that must be present in a photorealistic interior architectural image. It
also led to a new, more organized, and practical set of principles which were proven to be
necessary after the examination of the ten photorealistic images. But can a photorealistic
image be created using this new set of principles? Or, are there still principles that need
to be discovered and evaluated?
After careful consideration of this question, the author attempted to create a
photorealistic image using the new set of principles. The scene chosen (Figure 45) was a
scene of a coffee shop that the author had previous experience with.
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Texas Tech University, James A. Brenton Jr., December 2007
Fig. 45. Preston Manor’s Coffee Shop
The author decided to use real images of coffee shops to aid in the design and
creation of his scene. Arguably, the most famous coffee shops in the United States is
Starbucks. The scene of a Starbucks interior is therefore widely recognizable and was a
good reference to compare the digital coffee shop to. Using source images (Figure 46),
the author attempted to convert the original coffee shop image into one that has the same
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Texas Tech University, James A. Brenton Jr., December 2007
characteristics as a typical Starbucks.
Fig. 46. Starbucks interior
Most Starbucks stores strive to maintain a very clean environment, void of many
imperfections. Therefore, any imperfections that are present would be so small that they
would be impossible to see in the scene from this distance anyway. Since the context of
the new scene was supposed to be similar to that of a Starbucks, the imperfection
principle was left out during the creation.
Principle #1: Global Illumination
Since Global Illumination was believed to be the most important principle, extra
time was spent on creating strong direct and indirect illumination, as well as specular and
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Texas Tech University, James A. Brenton Jr., December 2007
diffuse reflections (Figure 47). It is important to note that there are many ways to
calculate global illumination in a 3D software program. For this particular scene, the
educational version of V-Ray 1.5 was used.
Fig. 47. Coffee Shop (global illumination)
Objects 1, 2, 3, and 4 are all examples of Direct Illumination whereas object 5 and
6 are examples of Specular Reflection. Object 1 shows the direct illumination originating
from the canned light directed toward the menu board. The reason this light appears so
strong is due to the proximity of the light to the wall and menu. Object 2 and 3
demonstrate softer “hot spots”, originating from the lights receded in the soffit. Object 4
points out the Direct Illumination from the sun, which is the main illumination of the
scene. Objects 5 and 6 demonstrate the specular reflections of these objects which
originate from the canned lights above them.
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Texas Tech University, James A. Brenton Jr., December 2007
Examples of indirect illumination are visible everywhere in this scene, but it is
especially apparent in the top right portion of the image. The ceiling and the ducting are
visible in this scene due to indirect lighting. All of the light sources in this scene are
pointed towards the floor and the light from outside enters at a downward angle. If it
were not for bounced light, the ceiling and ducting would not be visible.
Principle #2: Accurate Object Representation
Principle #2 was difficult to complete for this scene due to the sheer volume of
geometry in the scene (Figure 48). Object 1 demonstrates how the beveled edges of the
ceiling soffit allow for specular depth to be seen. The specular highlight that is created
really helps to make this object appear more 3d and more photorealistic. Object 2 and 3
demonstrate how beveled edges also create specular depth and profile accuracy. The
small specular highlights on these surfaces create details that would not otherwise be able
to be seen without the beveling of these edges. The surface texture of the chair cushion
shown in Object 4 illustrates the specular detail in the fabric. The beveled edges shown
in Object 5 demonstrate how even objects that are far away need to have specular depth.
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Texas Tech University, James A. Brenton Jr., December 2007
Fig. 48. Coffee Shop (accurate object representation)
Principle #3: Chaos
The principle of Chaos is also very important to this scene (Figure 49). A shop
like this one should appear full of merchandise and visually overwhelming with a lot of
non-uniformity and clutter. After the geometry was constructed, each object had to be
rotated and moved just slightly in order to achieve the photorealistic effect. Although
these small adjustments are not always clearly visible to the viewer, it is imperative that
they are made.
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Texas Tech University, James A. Brenton Jr., December 2007
Fig. 49. Coffee Shop (chaos)
Object 1 demonstrates non-uniformity between the sign and the door. This type
of sign would never align perfectly because its position is affected by the constant
movement of the door. Object 2 and 3 demonstrate the clutter in the scene. These items
are constantly being touched and moved around, which is reflected in their cluttered state.
The cluttering of objects like this is very important for the scene to appear photorealistic.
Object 4 points out that the menu is slightly angled out and tilted away from the wall,
which is another example of Non-uniformity. This type of menu is written on frequently
and it is slightly moved each time. Due to this movement, the menu’s position in relation
to the wall must reflect its use.
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Texas Tech University, James A. Brenton Jr., December 2007
End Results
After all of the elements were added, the resulting image was produced as shown
in Figure 50.
Fig. 50. Result
The quality of this image is the result of adhering to the new list of principles.
The image contains the necessary elements of Global Illumination, Accurate Object
Representation, and Chaos. The author conducted a survey to determine how successful
his image was in achieving photorealism. In this survey his image was ranked alongside
other images so as to ascertain exactly how photorealistic his image appeared to other
people.
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Texas Tech University, James A. Brenton Jr., December 2007
The Survey
The survey was primarily conducted in order to validate that the new principles
are effective guidelines to follow for the creation a photorealistic scene. The perspective
of others was needed to ensure that the image was evaluated fairly. Ten professionals in
the field of architecture who were familiar with architectural imagery were surveyed.
These particular people were chosen for this survey because their jobs frequently involve
the management of these types of images. This allows them to be more analytic and gives
them the ability to formulate an educated judgment regarding the images in this survey.
The author’s image was introduced alongside three other architectural images to
determine how it ranked among them. The three images that were chosen included an
actual photograph, a student rendering, and a professional rendering from
www.vismaters.com (Figure 51). The images chosen were purposely very different from
one another and represented both extremes on the scale of photorealism. This ensured a
clear and precise understanding of how the author’s image ranked on this scale.
Fig. 51. (left) Coffee House Fig. 52. (middle) Living Room. Fig. 53. (right)
Coffee Shop
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Texas Tech University, James A. Brenton Jr., December 2007
The professionals surveyed were each shown four images but they were not made
aware of whether they were digitally created or were actual photographs. The
professionals were asked simply, “Is this image photorealistic?” and then asked to rank
each of the four images on a set scale that ranged from 1 to 4. (1-Strongly Disagree, 2Disagree, 3-Agree, 4-Strongly Agree)
Before shown the four images, the professionals were shown two examples of
how the images should be ranked. These images are shown in Figure 54 and Figure 55.
Figure 54 was an example of an image that should be ranked as a 1 and Figure 55
represented an image that should be ranked as a 4. The resulting data is displayed in
Table 3.
Fig. 54. (left) Image scale 1. Fig. 55. (right) Image scale 4.
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Texas Tech University, James A. Brenton Jr., December 2007
Table 3
ranking
1
2
3
4
Subject
1
4
2
3
4
2
4
3
4
4
3
4
3
4
4
4
3
2
4
4
5
4
3
4
4
6
4
2
4
4
7
3
2
3
3
8
3
1
3
3
9
4
2
4
4
10
4
2
2
3
3.7
2.2
3.5
3.7
average
The collective rankings of each image were then averaged, and the resulting
number was the image’s overall ranking. If the image was ranked highly, it was generally
accepted to be photorealistic. Image 1, which was an actual photograph, was ranked as a
3.7. This image obviously should have been ranked as a 4 by everyone since it was an
actual photograph. Most of the professionals that ranked this image lower than a 4 did
not believe any of the images to be truly photorealistic and therefore did not rank any of
the images above a 3. Interestingly enough, Image 4 was also ranked as 3.7. This means
that this image was considered to be as photorealistic as an actual photograph. Image 2
was ranked as a 2.2, meaning that it was overall not accepted to be photorealistic. The
average ranking of the author’s image was 3.5. The photograph and the professionally
designed image were ranked higher, but only very slightly higher. The data shows that
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Texas Tech University, James A. Brenton Jr., December 2007
all but one professional either agreed or strongly agreed that the author’s image was
photorealistic.
The survey led to several conclusions about the author’s image. First, the
author’s image was ranked very high on average, which reveals that the image was
generally accepted to be photorealistic. The significance of this is that while there is
room for improvement, the author did in fact succeed in creating an image that
effectively mimicked reality. This also proves that the author’s principles are valid since
he was able to create a photorealistic image using these principles.
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Texas Tech University, James A. Brenton Jr., December 2007
CHAPTER V
CONCLUSION
Photorealism can be defined as “mimicking reality by means of meticulous
attention to detail.” 18 There are certain elements that must be included in a digital scene
for it to appear photorealistic. Digital artist Bill Fleming introduced ten basic principles to
define the elements that make photorealism possible. These principles are: Clutter and
Chaos, Personality and Expectations, Believability, Surface Texture, Specularity, Dirt,
Dust, and Rust, Flaws, Scratches and Dings, Beveled Edges, Object, Material Depth, and
Radiosity. He claims that at least eight of his ten principles must be used for the image to
be considered photorealistic. The problem with his claim is that some principles are
more necessary than others. Consequently, simply picking eight random elements from
his list will not suffice. There are certain principles that must always be contained within
a scene for it to be considered photorealistic.
The author proposed that a new set of principles must be created. He used
Fleming’s ten principles as the foundation for his list. Fleming’s principles were
redefined, reorganized, restructured, and added to. He also accounted for the fact that the
only tools available to a digital artist are geometry, textures, and lighting. The author’s
new list was organized in a fashion that worked in conjunction with these tools. The new
list was comprised of four principles which were defined by their elements and the
attributes of those elements.
18
“Photorealism.” The American Heritage Dictionary of the English Language. 4th ed. Boston: Houghton
Mifflin, 2000.
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Texas Tech University, James A. Brenton Jr., December 2007
Principle One is Global Illumination and it is defined by the sources of light in a
scene and also the reflection of light. The Direct and Indirect Illumination of a scene are
attributes affected by the Sources of Light in a scene. Indirect Illumination often
accounts for the majority of the illumination in any given scene and in order to create a
photorealistic scene it must be present. The Specular and Diffuse Reflection seen in a
scene are attributes produced by the Reflection of Light in a scene. Correct Global
Illumination of a scene allows the details produced by the other three principles to be
visible and appear realistic.
Principle Two is Accurate Object Representation and it is defined by Beveled
Edges, Object modeling depth, and Surface Texture. Beveled Edges and Surface Texture
are further categorized into Profile Accuracy, Specular Depth, and Specular Detail. This
principle is achieved using the tools geometry and texture. The accurate representation of
an object is a key element in creating the details that lend to the photorealism of a scene.
Principle Three is Chaos and it is defined by Clutter, Randomness, and NonUniformity in a scene. This principle is based on the use of the other two principles and
placement of objects in a scene. Chaos allows the effects of human interaction in a scene
to be visible. This interaction must be accurately depicted to achieve photorealism.
Principle Four is Imperfections and it is defined by the Dirt, Dust, and Rust, and
the Flaws, Scratches, and Dings in a scene. This principle is optional and should be used
only if the context of the scene calls for it. Most interior architectural images are free
from visible imperfections and even if they are present and are too small to be noticed.
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Texas Tech University, James A. Brenton Jr., December 2007
The author conducted a study to gain a better understanding of the principles and
the role they play in photorealistic interior architectural images. Ten images were closely
analyzed using both Fleming’s and the author’s sets of principles and their guidelines.
These images were already deemed to be photorealistic by professionals in the field. The
conclusion derived from both sets of principles was that all ten images were
photorealistic. The important factor that was gained from this study was the realization
that Fleming’s “eight out of ten” rule is incorrect. There are specific principles that
appeared repeatedly which led to the author’s conclusion that there are certain principles
that must be included in a scene for it to be photorealistic. This illustrated the need for
the restructure of Fleming’s principles
Unlike Fleming’s “eight out of ten” rule, all of the new principles, excluding the
fourth one, must be present in a scene for it to achieve a photorealistic quality. Without
these principles, a scene will not achieve this quality. By the same token, simply
including these principles in a scene does not ensure its photorealism. They must be used
correctly to effectively create a photorealistic scene. It is also important to note that many
of the principles may occur simultaneously and/or have a direct effect on each other.
The author created an image using the new set of principles in an attempt to
achieve photorealism. The author used a scene that he had previous experience with and
used photos of Starbucks Coffee Shops as a basis for comparison. A survey was then
conducted to validate that the new principles are effective guidelines to follow for the
creation a photorealistic scene. Ten professionals in the field of architecture, who were
familiar with architectural imagery, were asked to rank four images. These images
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Texas Tech University, James A. Brenton Jr., December 2007
included an actual photograph, a student rendering, a professional rendering, and the
author’s image. They were ranked according to whether or not they appeared
photorealistic to each individual. The author’s image ranked very high in comparison to
the other images, which led to the conclusion that the image was generally accepted to be
photorealistic, and while there is room for improvement, the author did in fact succeed in
creating an image that effectively mimicked reality. This also proved the author’s
principles to be valid since the image was created using these principles.
Photorealism is mimicking reality, and therefore the elements and constructs of
reality must be dissected and understood before it can be mimicked. After the necessary
principles have been acknowledged, they can be used as guidelines to aid in the creation
of photorealistic interior architectural images. The author has determined that the revised
principles are a more comprehensive and organized alternative to Bill Fleming’s original
principles. In conclusion, the author anticipates his principles to serve as a solid
foundation for the advancement of photorealistic imaging techniques in the future, while
providing a better understanding of photorealism, and the elements necessary to achieve
it, for digital artists today.
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Texas Tech University, James A. Brenton Jr., December 2007
CHAPTER VI
FINAL THOUGHTS
I agree with Fleming’s argument that a majority of our images are too pristine and
clean. Our environment just isn’t that way. We see chaos and imperfections everyday
and much of this chaos and imperfections create visual interest, but typical interior
architectural images purposely try to not show these imperfections. These images try to
show the space at its best and most presentable time. Most importantly we must consider
the context of the scene we are trying to mimic and make our decisions from there.
From this knowledge we now know which principles must be included in every
interior architectural scene in order to achieve photorealism; but does having these
principles ensure that a scene is photorealistic? Do these same principles work for every
architectural scene, interior and exterior? Are there other principles that need to be added
to this list or are they just principles that occur on a case by case basis? These are a few
of the questions that can now be examined and studied now that we have a greater
understanding on a small field of photorealism.
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BIBLIOGRAPHY
Fleming, Bill. The 3D Photorealism Toolkit. New York: John Wiley and Sons, Inc,
1998.
Fleming, Bill. Advanced 3D Photorealism Techniques. New York: John Wiley and
Sons, Inc, 1999.
Gallardo, Arnold. 3D lighting: History, Concepts, and Techniques. Massachusetts:
Charles River Media, Inc, 2001.
Birn, Jeremy. [Digital] Lighting and Rendering. Indiana: New Riders Publishing, 2000.
“Photorealism.” The American Heritage Dictionary of the English Language, 4th ed.
Boston: Houghton Mifflin Company, 2000. www.bartleby.com/61/.
Murdock, Kelly L. 3ds Max 6 Bible. New Jersey: Wiley Publishing, Inc, 2004.
“Clutter.” Merriam-Webster Dictionary. Massachusetts: Merriam-Webster, Inc, 1997.
Watt, Alan H. “3D Computer Graphics.” England: Addison-Wesley, 2000.
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APPENDIX A
FLEMINGS PRINCIPLES EVALUATED
The following ten images were evaluated using Flemings ten principles. Below
each image there is a description of the principles found and where it appears in that
particular image. This may or may not be the only instance of that principle appearing in
the image.
Flemings 10 Principles Key
1. Clutter and Chaos
2. Personality and Expectations
3. Believability
4. Surface Texture
5. Specularity
6. Dirt, Dust, and Rust
7. Flaws, Scratches and Dings
8. Beveled Edges
9. Object Material Depth
10. Radiosity
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Texas Tech University, James A. Brenton Jr., December 2007
Image 1
Principle
Description
1. Clutter and Chaos
The used dishes and cups left out on the table
appear random unlike the cups and dishes on the
main counter.
The bumpy texture of the walls.
4. Surface Texture
5. Specularity
8. Beveled Edges
Strong specular reflection of the light above the
chair reflecting off the floor.
The chair and cushion edge have a nice curve
instead of 90 degree angle
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Texas Tech University, James A. Brenton Jr., December 2007
Image 2
Principle
Description
1. Clutter and Chaos
The used and dishes and cups left out on the
table.
The bumpy texture of the walls.
4. Surface Texture
5. Specularity
7. Flaws, Scratches, Dings
8. Beveled Edges
Strong specular reflection of the light above the
chair reflecting off the floor.
The socket sticking out from the wall.
The chair and cushion edge have a nice curve
instead of 90 degree angle
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Texas Tech University, James A. Brenton Jr., December 2007
Image 3
Principle
Description
1. Clutter and Chaos
The books on the shelves almost falling over and
in no apparent order.
The woven texture of the carpet.
4. Surface Texture
5. Specularity
8. Beveled Edges
Specular reflection on the top beveled edge of
the entertainment center.
The top and corner of the chair receiving the
specular reflection.
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Texas Tech University, James A. Brenton Jr., December 2007
Image 4
Principle
Description
1. Clutter and Chaos
The randomness the light fixtures are pointing.
4. Surface Texture
The shaggy threads of the rug.
5. Specularity
Specular reflections going all around the vases.
8. Beveled Edges
The top and corner of the loveseat.
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Texas Tech University, James A. Brenton Jr., December 2007
Image 5
Principle
Description
1. Clutter and Chaos
The magazines on the table; one half open and
the other appearing as if just tossed there.
The woven texture of the rug.
4. Surface Texture
5. Specularity
8. Beveled Edges
Specular reflection on the bottom of the metal
ceiling lights from the sun.
The top and corner of the window sill.
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Texas Tech University, James A. Brenton Jr., December 2007
Image 6
Principle
Description
1. Clutter and Chaos
The pillows stacked up in the corner.
4. Surface Texture
The woven texture of the rug.
5. Specularity
Specular reflections off the edges of the glass
sculpture.
The soft corner of the chimney revealing a
angled edge.
8. Beveled Edges
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Texas Tech University, James A. Brenton Jr., December 2007
Image 7
Principle
Description
1. Clutter and Chaos
The pillows thrown on the couch.
4. Surface Texture
The grain of the wood on the cabinets.
5. Specularity
Specular reflections off the edges of the glass
table top.
The edges and corner of the bar top receiving
specular reflections.
8. Beveled Edges
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Texas Tech University, James A. Brenton Jr., December 2007
Image 8
Principle
Description
1. Clutter and Chaos
The bed spread over the rug and its corner
wrinkles.
The soft fabric of the curtain.
4. Surface Texture
5. Specularity
8. Beveled Edges
Specular reflections off the edges of the metal
light fixture.
The edges and corner of the table top receiving
specular reflections.
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Texas Tech University, James A. Brenton Jr., December 2007
Image 9
Principle
Description
1. Clutter and Chaos
The curtain as it drapes over the floor.
4. Surface Texture
The grain of the wood on the floor.
5. Specularity
Specular reflections off the edges of the metal
light fixture.
The edges and corner of the table top receiving
specular reflections.
8. Beveled Edges
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Texas Tech University, James A. Brenton Jr., December 2007
Image 10
Principle
Description
1. Clutter and Chaos
The random pillow laying face down on the
couch.
The soft texture of the couches cushions.
4. Surface Texture
5. Specularity
8. Beveled Edges
Specular reflections off the edge of the glass
light fixture.
The edges and corner of the wood top receiving
specular reflections.
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APPENDIX B
NEW PRINCIPLES EVALUATED
The following ten images were evaluated using the new set of principles. Below
each image there is a description of the principles found and where it appears in that
particular image. This may or may not be the only instance of that principle appearing in
the image.
New List of Principles Key
1) Global Illumination
a) Sources of Light
i) Direct Illumination
ii) Indirect Illumination
b) Reflection of Light
i) Specular Reflection
ii) Diffuse Reflection
2) Accurate Object Representation
a) Beveled Edges
i) Profile Accuracy
ii) Specular Depth
iii) Specular Detail
b) Object Modeling Depth
c) Surface Texture
i) Profile Accuracy
ii) Specular Depth
iii) Specular Detail
3) Chaos
a) Clutter
b) Randomness
c) Non-Uniformity
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4) Imperfections
a) Dirt, Dust and Rust
b) Flaws, Scratches and Dings
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Texas Tech University, James A. Brenton Jr., December 2007
Image 1
Principle
Description
1-a. Global Illumination
Hot spots from ceiling lights
1-b. Global Illumination
Specular reflection from light above
2-a. Accurate Object Rep.
Beveled edge of chair
2-c. Accurate Object Rep.
Texture of the walls
3-a. Chaos
Used cups and dishes
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Texas Tech University, James A. Brenton Jr., December 2007
Image 2
Principle
Description
1-a. Global Illumination
Hot spot from sun
2-a. Accurate Object Rep.
Beveled edge of mantel
2-a. Accurate Object Rep.
Beveled edges of glass
3-a. Chaos.
Clutter on shelf
4. Imperfections
Wall socket not connected to wall
4. Imperfections
Cracking wall paint
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Texas Tech University, James A. Brenton Jr., December 2007
Image 3
Principle
Description
1-a. Global Illumination
Hot spot from sun
2-a. Accurate Object Rep.
Beveled edge of mantel
2-a. Accurate Object Rep.
Beveled edges of glass
3-a. Chaos.
Clutter on shelf
4. Imperfections
Wall socket not connected to wall
4. Imperfections
Cracking wall paint
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Texas Tech University, James A. Brenton Jr., December 2007
Image 4
Principle
Description
1-a. Global Illumination
Hot spot from sunlight
2-a. Accurate Object Rep.
Beveled edges of couch cushion
2-c. Accurate Object Rep.
Specualr detail in the surface texture of rug
3-b. Chaos
Randomness of plant
3-c. Chaos
Non-uniformity of fixtures
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Texas Tech University, James A. Brenton Jr., December 2007
Image 5
Principle
Description
1-a. Global Illumination
Hot spot canned lights
1-b. Global Illumination
Specular Reflection off metal fixture
2-a. Accurate Object Rep.
Specular depth of wood trim, very subtle
2-c. Accurate Object Rep.
Specular detail of carpet
3-a. Chaos
Magazines on table, left open
3-c. Chaos
Non-uniformity of books
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Texas Tech University, James A. Brenton Jr., December 2007
Image 6
Principle
Description
1-a. Global Illumination
Hot spot ceiling light
1-b. Global Illumination
Specular Reflection off glass
2-a. Accurate Object Rep.
Soft edge of chimney, very subtle
2-c. Accurate Object Rep.
Specular detail of chair and cushions
3-a. Chaos
Stacked pillows
3-c. Chaos
Frame hanging off wall
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Texas Tech University, James A. Brenton Jr., December 2007
Image 7
Principle
Description
1-a. Global Illumination
Hot spots from ceiling lights
1-b. Global Illumination
Specular reflection off glass
2-a. Accurate Object Rep.
Beveled edge of bar
3-a. Chaos
Pillows thrown on couch
3-b. Chaos
Randomness of plant
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Texas Tech University, James A. Brenton Jr., December 2007
Image 8
Principle
Description
1-a. Global Illumination
Hot spots from sun shining in
1-b. Global Illumination
Specular reflection off metal fixture
2-a. Accurate Object Rep.
Beveled edge of wood table
2-c. Accurate Object Rep.
Specular detail of curtain
3-c. Chaos
Undulation of bedspread
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Texas Tech University, James A. Brenton Jr., December 2007
Image 9
Principle
Description
1-a. Global Illumination
Hot spot on back of chair
1-b. Global Illumination
Specular Reflection on fixture
2-a. Accurate Object Rep.
Soft edge of chair top
2-c. Accurate Object Rep.
Specular detail of grain on floor
3-b. Chaos
Randomness of plant
3-c. Chaos
Curtain draped on floor
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Texas Tech University, James A. Brenton Jr., December 2007
Image 10
Principle
Description
1-a. Global Illumination
Hot spots from ceiling lights
1-b. Global Illumination
Specular reflection on glass fixture
2-a. Accurate Object Rep.
Beveled edge of wood
2-c. Accurate Object Rep.
Texture on the cushions
3-c. Chaos
Pillow thrown on couch
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PERMISSION TO COPY
In presenting this thesis in partial fulfillment of the requirements for a master’s
degree at Texas Tech University or Texas Tech University Health Sciences Center, I
agree that the Library and my major department shall make it freely available for research
purposes. Permission to copy this thesis for scholarly purposes may be granted by the
Director of the Library or my major professor. It is understood that any copying or
publication of this thesis for financial gain shall not be allowed without my further
written permission and that any user may be liable for copyright infringement.
Agree (Permission is granted.)
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Disagree (Permission is not granted.)
James Albert Brenton Jr
12.03.2007
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