Study No. 8

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This may be a modern structure, but it is filled with, as one writer intimated, a wonderful Victorian clutter. While these objects have, for the most part, nominal value as individual pieces, they have a huge value as part of the carefully-placed collection. In perfect Eamesian fashion, the two structures are presented appropriately, which means differently. The studio is the headquarters of the Eames Foundation and is furnished to meet our needs.

The original intent—particularly for the living room and the studio—was to be a very flexible space, designed with the anticipation that it would be filled with objects. The appreciation of nature is an essential part of life in the house. The meadow moves between green and sere as rain falls or stops. As one visitor said: Roses of all colors were favorites, but especially clear reds, whites and pinks. Other favorite flowers include violas, especially the ones with faces, and tiny, delicately-formed flowers, from lobelias to Santa Barbara daisies.

Ray would exclaim at how precious they were. These vases, set in the house, echoed the exterior plantings, helping to blur the line between indoor and outdoor. The house itself contains a ficus tree, a planter filled with philodendrons, ferns, and African violets. By reflecting the seasons, they seamlessly link indoors and out. The garden beds were on either side of the two structures: Between the two structures was a central court where visitors would often be greeted.

Many materials were laid in the courts: Smaller squares and rectangles were left open, greened with ground covers or planted with a tree such as the Coulter pine, now grown tall.

Scale Model of the Eames House

The meadow-side quadrants might hold Icelandic poppies, while the back-side held delphiniums or foxgloves. Star jasmine edged the side facing the living room; the meadow-side edge held miniature geraniums, Santa Barbara daisies and lobelia earlier, it held different colored verbenas and lobelia ; the path-side edge currently holds lavender but originally held ivy. The winners, the wedding proposals, the WTF?

Relive the best of the Emmys now! Everything you may have missed. I don't know how many people will see this comment, but I find this study to be of extra importance. I believe that this study features a particularly familiar piece entitled "The Sorcerer's Apprentice" by Paul Dukas. It's either this one or study 6, I forget. For those of you who are wondering, it is the same piece that Disney uses in Fantasia and Fantasia with Mickey Mouse as the apprentice, and it has grown into the piece into which we all know and love.

I don't think this is a coincidence: So when you are seeing these 70 year old studies, you're seeing the basis for modern animation. The subtle things do matter! Most of the furniture was done the same way as the house, downloaded from the SketchUP 3D Warehouse and then improved upon. Some were pre-made models like the lounge chair from Evermotion, others I had modeled myself from scratch. Some more simple modeling for the lamps and Ivy Generator for the hanging dry branches. Just standard stuff here. The plywood splints were made with simple plane modeling, and with shell and Turbosmooth modifiers applied.

The beautiful meadow where the house is set worked out perfectly for the purposes of the animation. The house is surrounded by dense vegetation, so at no point was I concerned about neighboring houses, roads or horizon line for that matter. The first thing I did was model the ground plane using the plane modeling, subdividing where it needed more detail, which in this case were only two areas around the steps. For the asphalt I just selected some polygons from the ground plane, detached them as clone and applied shell and Turbosmooth.

Again two examples of how noise modifier can get rid of the perfectly straight lines and introduce some randomness.

ABRSM Percussion Grade 8: Study No. 8

The foliage was where I met one of the first problems with the project. The plugin works great and gives a fast result which is very easily editable to reach a certain desirable look. This was the model library set to be used with MultiScatter, a couple of flowers from iflowers collection, grass patches, some wild grass and leaves.

And it looked great, but the problem came later in the rendering stage, I had some nasty artifacts in all the foliage, but luckily the new and oh so awesome V-Ray 3. After I upgraded to 3. So eventually I had to redo the grass with V-Ray Displacement modifier.

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Again, to achieve as much randomness I used advanced painter script for the clovers and wild grass and scattered them around the house to compliment the grass. Without this it would have looked too clean, thus breaking the illusion of this lived in place. After the grass was done I imported some low poly trees from Evermotion for the background and some iBushes, converted them to V-Ray proxy objects and placed them in the scene with Advanced Painter I love that script.

Next step was to add the hero trees. I wish I had more time to really delve into modeling these, but I had to use a faster approach. So I busted open the good old onyx TreeStorm plugin and made 17 different hero trees. I used two layers of displacement to add a bit of variety.


  1. The Eames House - Case Study House No. 8 in 3D.
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First was standard displace modifier that added extra geometry using a simple noise map with strong contrast. Then, when texturing, I can use the same mask to have different materials for inner and outer layers of the bark. The second displacement was the V-Ray Disp Modifier to add all those nice little details. Using V-Ray Disp Modifier is crucial to having believable tree barks.

Eames House

As a last few steps I added lots of pots and some ivy with Ivy Generator, all converted to V-Ray proxy objects of course. Keeping up with the fast approach, everything in the scene was textured just with standard uvw modifier. I always check the Fresnel reflections options for every material, and go fairly light with the bump as it can sometimes break the realism if miss used. The concrete setup, and any other dirty material for that matter was a bit more complex, but nothing out of the ordinary.

Eames House | Eames Foundation

I used V-Ray Blend Material with the main concrete in the base material slot and three layers of the same dark dirty material but with a different masks. The first has a V-Ray dirt set as a mask so it would darken up the corners, the second is a very subtle noise mask and the third was the leak mask on the top of the model.

I used some textures from CGTextures. The wall materials are the same V-Ray Blend Material setup but with different leak and dirt texture masks. The grass is mapped with a cellular texture used for displacement and the gravel with some gravel texture and a black and white version in displacement as well.