Interview with Scott Baumberger of BaumbergerStudio

Interview with Scott Baumberger of BaumbergerStudio

Scott Baumberger is an architectural illustrator with more than ten years of experience in the A/E industry. He specializes in high-quality digital illustration for a wide variety of project and client types.

CGA: Could you introduce yourself?

My name is Scott Baumberger, and I am the sole proprietor of BaumbergerStudio.

CGA: Tell us about your background and how you originally became involved with computer graphics and the architectural industry?

I’ve always had a passion for buildings — skyscrapers in particular — how they look, how they are put together. I received my undergraduate degree in architectural engineering and for the past 10 years worked as an architectural designer for several prominent firms.

My initial interest in computer-aided graphics really goes back to high school, when I used a TRS-80 to build simple 2D graphics out of block characters. From that moment, I was hooked. I started using AutoCAD in the late-80's — at many of my first jobs, I was the only person in the office familiar with CAD, quickly becoming the “computer guy.”

CGA: Can you tell us a little bit about BaumbergerStudio and how it was started?

Working in architectural offices, I always gravitated towards using the computer, not simply for construction drawings, but as a way to create quick study models and renderings. More and more I was being called upon to produce presentation imagery and I found that I really enjoyed the artistic outlet that creating these illustrations provided. As many young architects know, it can be a very frustratingly mechanical profession with the opportunities for creativity being few and far between.

At some point I realized that illustrations were very rewarding to me, and I began thinking about starting my own business. In the beginning, I relied on a web page and a postcard mailing to get the word out that I was for hire. I continued to work full-time for the first year or two, moonlighting as an illustrator as jobs came up. In the fall of 2001, having landed one fairly large job, I took the leap and quit my day job to become BaumbergerStudio.

So, I now work full-time as an illustrator and feel very lucky that the phone keeps ringing. Although it’s been a great opportunity, I have had to give up my aspirations as an architectural designer. But I’ve found that this is a good balance for me, and I’ve really enjoyed striking out on my own. The move has not only given me freedom over my time and workload, but also fulfills my creative needs. One of the most satisfying aspects of the job has been the continued collaboration with architects & designers.

		Scott Baumberger Click to enlarge

CGA: In your experience, are clients looking for photo-realistic work or softer and more stylized renderings?

It's a bit of a pendulum swing. For a long time, everyone was very interested in hyper-realistic photo-quality renderings. Recently there's been a backlash against renderings that look too "computer-y", and I've had a lot of requests for softer images that have a watercolor style. So right now it's about a 50-50 balance between photo-realism and traditionally styled renderings. I think clients are becoming more sophisticated about the technology abilities and limitations, and base their style decisions on the intended audience for each image.

At the end of day, what I provide is a rendering. As accurate as the photo-realism tools have become, I still render the building based on the character and mood of the subject.

CGA: What does BaumbergerStudio offer that sets you apart from your competitors?

Experience, service and (hopefully) talent.

Having worked within architectural firms and commissioned illustrators in the past, I understand both sides of the table. I have a good sense of what clients are looking for at various stages of a project’s life. A beautiful presentation-quality rendering has its time and place, but I also understand the validity of quick studies. Also, having worked in several large offices, I understand the multi-tiered approval process that normally occurs and can factor that in to my time and process estimations.

As a company of one, I provide a very personalized service to my clients that they may be unable to get from larger rendering houses. They always know who’s going to answer the phone.

Finally, I think that I offer a wider range of rendering styles to my clients. I’ve had large companies request a watercolor rendering and then turn around and ask for a photomontage on the next project. Being able to offer both styles has kept my foot in the door on more work than might be possible if l had limited my portfolio to only photo-realistic images for example.

CGA: What software are you using to create your images and why did you choose the package you did?

I've always been interested in trying to create atmospheric effects in my renderings. So I've been using Bryce and Vue d'esprit for a while, both of which are very under-rated as rendering engines. Recently I've added Cinema 4D to my arsenal so that I can use global illumination and radiosity techniques.

	Scott Baumberger Bird's Eye Click to enlarge	Scott Baumberger Click to enlarge	Scott Baumberger Click to enlarge

CGA: What are your thoughts on the future of architectural rendering? Do you see a particular style or trend becoming more popular?

I think the two major trends that we talked about earlier — photo-realistic and softer, stylized images — will continue and become more stratified from each other.

As rendering software becomes more powerful, it is now possible to truly predict how a building will look, especially interiors. The hyper-realistic style of rendering helps to take the guess work out of architecture. The client knows exactly what they are going to get. The community board can be reassured by new development.

But, as the need for realistic imagery grows, so will the need for “artist’s impression” or traditional-style renderings. These are the images that grab people’s imagination and illustrate how a project will “feel.” I continue to believe that these types of imagery will remain popular for projects that are early on in the design process or that are bidding for emotional acceptance of the intended audience.

CGA: Which project are you most proud of and why?

I recently completed a project for Fox & Fowle Architects that I’m very proud of. It was a large mixed-use project and they were looking for a nighttime watercolor rendering. The designer approached me based on a recommendation, unaware that I am a digital artist. They were at first reluctant to stray from the chosen style, but after showing several examples and talking about technique, I convinced them that the final product would look and feel like a watercolor. They took a chance on me, and it worked out very well. Fox & Fowle is now one of my best clients.

CGA: What were some of the challenges that you ran into while working on the project?

I had to re-think the workflow on a project this size. In the past, I had been able to get away with rendering the project normally and then applying watercolor (and similar) filters afterwards. In this case the project was too big for that, and it would have really gotten out of control to try to model all of the details in 3D. Instead of doing that, I built a series of relatively simple models and composited them with 2D & 3D entourage in Photoshop.

It was a lot of work to set up this way, but it did allow for numerous changes to the design (as well as the entourage) without having to re-render the entire model. It was a great opportunity to try out a new technique, and now that I’ve figured out the workflow I’ve been able to replicate it on other projects much more easily.

	Scott Baumberger Clinton Click to enlarge	Scott Baumberger Click to enlarge	Scott Baumberger Click to enlarge

 

CGA: Is there a project you would really like to do, but have not yet had the opportunity?

Now that I’m up to speed on global illumination, I’d like to do a high-rise rendering with a more photo-realistic approach, and I’d like to get into animation as well. With animation especially, it’s hard to land a job without a strong portfolio, and I just haven’t had the time to create a self-commissioned animation that I would be happy marketing with. Keeping up with all of the new tools is a full-time job on its own, so it’s been hard to juggle actual work with learning these new skills at the same time.

CGA: Who has influenced the style of your renderings the most?

I get a lot of my inspiration from non-digital sources: photography, film, sculpture, painting, and illustration. There is so much to learn about lighting and rendering from these works of art.

In the architectural rendering field, I probably look most to traditional-style artists like Hugh Ferriss, Cyril Farey, and Chesley Bonestell. The soaring quality of skyscraper renderings from the 20’s & 30’s evoke such a strong monumental presence that speaks to much more than the building itself.

Thomas Schaller’s work continues to inspire me to pursue highly-stylized environments. His use of color and light to evoke emotion and draw emphasis is amazing.

CGA: How do you manage your projects? Can you walk us through a typical job?

I always try to weigh the client’s urgency against the time it will it take to create something decent. The more time you have, generally the more opportunity the client can have to be involved in the process. Some renderings have been created in a weekend as a leap of faith, but I find that 2-3 weeks usually gives everyone a chance to review the work and feel invested in the outcome.

There really is no such thing as a “typical job” and that is one of the beauties of this profession I think. I would hate to get into a rut of creating the same type of rendering for the same type of project over and over again. I’ve been fortunate to have many different clients, all of which have a different take on their own project.

CGA: What is in the future for BaumbergerStudio?

To grow and continue to provide high-quality renderings at a reasonable cost. I’m continuing to learn new software and new techniques to strengthen my illustrations, while at the same time keeping the amount of time spent on each project to a minimum.

In the future, I would like to be able to offer more services to my clients, including high-quality animation, but also interactive presentations and virtual walk-through models.

I would also really like to offer traditionally-created illustrations (actually putting a brush on a piece of paper !). In the long run, being able to take a break from the computer once in a while will help to relieve the monotony of modeling/rendering/etc. Again, I need to take some time to create self-commissioned pieces that I’m proud of. Of course, creating traditional paintings involves a completely different workflow that I will need to get my arms around as well.

CGA: What tip(s) can you give our readers to improve their architectural renderings?

1. Don’t just read computer manuals — creating digital illustrations is really being a jack-of-all-trades and there are a number of different skill sets that are required and may not be obvious. The most obvious is modeling skill, but you also need to have an understanding of traditional photography, perspective construction and the rules of composition.
2. Remember that even though you are using a computer, what you are creating is art and the rules of traditional mediums still apply.
3. Lighting is the single most important factor when creating a great rendering. When setting the lighting in a 3D model, think of it more in terms of photography, not painting. Learning about the tricks that photographers use to shoot a building applies directly to lighting a virtual building as well.
4. It’s also important to simply observe – go to the site (if you can) at different times of day to get a sense of the context and the atmosphere that best suits the project. Also try to get (if you can) actual samples of the materials that will be used in the building – this will allow you to more realistically simulate the finish.

CGA: What do you feel is the most important aspect of the rendering process or project workflow that ensures a successful rendering?

More important than the type of project or the scope of the rendering, I think the most important factor in the success of an illustration is the active collaboration of the client. A great client understands the process involved to create a rendering, and won’t make unreasonable demands in terms of time or output.

Unfortunately, there is still a gap in understanding the nature of computer graphics – a lot of clients don’t have experience in computer graphics and are only commissioning them because “everyone else is”. I try to educate my clients upfront to avoid a misunderstanding about how long things will take and especially printing.

CGA: What do you not like to see in computer generated architectural work?

The problem with CG renderings is that they are too easy to create. It’s very easy to build a model, set up a camera, and hit the render button without understanding the qualities that make a rendering great.

What I really don’t like to see are these renderings that have that same 3D Studio Release 2 sky backdrop – I’ve been seeing this for ten years now! Make sure that the backdrop and all entourage is lit from the same angle as the building – it makes the overall scene so much more believable.

CGA: What is your favorite link to visit on the web?

I check out www.skyscraperpage.com pretty regularly – it’s a great resource for hearing about new projects. www.architectureweek.com is also good, and it has some if the best online articles / reviews out there.

For computer-related info, www.cgarchitect.com is good (of course), but there’s also www.highend3d.com, www.3dbuzz.com, www.3dtotal.com, www.renderosity.com, www.renderology.com, etc.