Visual Concept Communication

Photorealistic Rendering:
LIATORP TV Bench, Grey

Jack David George

i7715244
Student Reference: 44443833

Contents
1.0

Introduction................................................................................................................................ 5

2.0

Research ................................................................................................................................... 6

3.0

Modelling ................................................................................................................................... 7

4.0

Materials .................................................................................................................................. 10

5.0

Lighting..................................................................................................................................... 11

6.0

Scene Setup............................................................................................................................ 12

7.0

Render Setup .......................................................................................................................... 15

8.0

Post- Processing .................................................................................................................... 17

9.0

Conclusion & Final Images ................................................................................................... 21

10.0

References .............................................................................................................................. 23

Figure Contents
Fig 1.1 IKEA White Background Image .. 5
Fig 1.2 IKEA Context Image 5
Fig 1.3 IKEA Close-Up Image . 5
Fig 2.1 Detailed notes and detailed form observations . 6
Fig 3.1 Creating wave profiling. 7
Fig 3.2 Creating wave with fillet profiling 7
Fig 3.3 Plane created from line. 7
Fig 3.4 Mirroring. 7
Fig 3.5 Bezier Corners 8
Fig 3.6 Face Extrude Modifier 8
Fig 3.7 Lathe Modifier. 8
Fig 3.8 Corner mismatch .. 9
Fig 3.9 Correcting vertices 9
Fig 3.10 Final Model. 9
Fig 4.1 Draw Knob material application.. 10
Fig 4.2 No reflection on mid-shelf 10
Fig 4.3 Reflection on mid-shelf.. 10
Fig 5.1 Scene with six target lights.. 11
Fig 5.2 Scene with two diffuse target lights. 11
Fig 5.3 Difference of individual light values.. 12
Fig 5.4 Kelvin level adjustments... 12
Fig 6.1 White Background Environment. 13
Fig 6.2 Perspective Matches 13
Fig 6.3 Context Render Setup. 13

Fig 6.4 Light grey wooden floor bitmap.. 14

Fig 6.5 Illumination values 14
Fig 6.6 Illumination effect. 14
Fig 7.1 Render Setup Panel.. 15
Fig 7.2 Render with no reflection on mid-shelf. 15
Fig 7.3 Render with reflection on mid-shelf. 16
Fig 7.4 Colour values used for final render .. 16
Fig 7.5 Kelvin and light values used in final render. 17
Fig 8.1 Scaling close-up render in Photoshop. 17
Fig 8.2 Using brush tool.. 18
Fig 8.3 Correcting component misplacement. 18
Fig 8.4 Floor reflection in Photoshop 19
Fig 8.5 Before and after close-up. 20
Fig 8.6 Before and after white background.. 20
Fig 8.7 Before and after context.. 20
Fig 9.1 White Background Final Image ... 21
Fig 9.2 Close-up Final Image .. 22
Fig 9.3 In Context Final Image .. 22

1.0 Introduction
This report demonstrates the processes carried out in order to create three photorealist
images of IKEAs grey LIATORP TV Bench. IKEA and other comparable companies use software
such as 3DS Max and Adobe Photoshop to save time and money but also to scale down on
the logistics of having to photograph every single product they sell. As a result approximately
60-75% of IKEAs product images are computer generated [1].
Below are the three images of the LIATORP bench that shall be recreated to achieve
photorealistic images [2]:

Figure 1.1 IKEA White Background Image.

Figure 1.3 IKEA Close-up Image.

Figure 1.2 IKEA Context Image.

2.0 Research
To begin modelling the TV bench, further knowledge of dimensions, colour and texture was
required. Beyond the overall size and component parts listed in the assembly guide [3] on
IKEAs website, the dimensions of individual components such as the draws and lower skirting
needed to be more exact as well as the wave and wave with fillet profiles [4] of the top and
draw corners. By visiting IKEA, a greater understanding was achieved of the surface finishes
and actual shapes of each component, allowing modelling to start on 3DS Max.

Figure 2.1 Dimension notes and detailed form observations.

3.0 Modelling
Standard primitive objects were used to build all of the model except the draw knobs. Boxes
were scaled to size and moved to form the structure of the bench. The profiling of the top
surface corners, draw faces and bottom skirting was shaped by converting their respective
boxes into editable polys and creating additional height and width vertices thus giving more
segments to move and create a wave profile.

Figure 3.1 Top component wave profiling.

Figure 3.2 Draw face wave with fillet profiling.

The original method attempted to create a matching wave profile on either side of each draw
couldnt be executed by mirroring. A way (using a line as a template and extruding) was
discovered later in the modelling stage.

Figure 3.3 Plane created from line.

Figure 3.4 After managing to extrude the plane it was not

clear how to mirror the body as a whole.

The bottom skirting profiling needed to be created differently as its bottom edge curves are
more noticeable in the final image. A face extrude modifier was applied to a line template
from the spline menu and had Bezier corners [5] to make the more waved profiling on the
bottom side.

Figure 3.5 Bezier corners.

Figure 3.6 Face extrude modifier.

A lathe modifier was applied to the draw knob template to get the 360 degree uniform shape.
For components with multiples, the original was cloned via a copy and not instance as each
one later required different editing during the render setup phase.

Figure 3.7 Creating a 360 degree shape using the lathe

modifier.

The modelling came together as expected with the additional dimensional information easing
the understanding of scale. The top edge profiling of the skirting did need to be matched in
each corner as the two sides were different copies to the front and back skirting.

Figure 3.8 Mismatch of corners.

Figure 3.9 Correction moving vertices.

Figure 3.10 Final Model.

4.0 Materials
Deciding the materials was straight forward as the IKEA website stated that components were
either fibreboard or particleboard but coated with a polyester paint therefore relatively untextured. As the materials for the draw knobs werent mentioned, a glossy black plastic
template was used so that a basic reflection would occur during the initial render to then later
be enhanced by post processing.

Figure 4.1 Draw Knob material application.

A grey pearl finish was used for the main components as it gave a slightly higher glossiness
which would become more suitable when setting up the lighting. The mid shelf had to have a
grey glossy plastic applied to generate and illuminate the internal reflections above each draw
face.

Figure 4.3 Reflections on midshelf.

Figure 4.2 No reflection of mid- shelf.

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5.0 Lighting
Due to the fact that basic materials were applied to the product, this made lighting more
prominent in creating a photo realistic image, especially in terms of surface shadows and
reflections. As the IKEA image showed many points of the object that light had highlights,
target lights were first used and aimed at these points. As more and more lights had to keep
being added and six lights were in use at the time, it became evident that adding more target
lights would only add to the problem as shadows werent matched at all.

Figure 5.1 Scene with 6 target lights.

Figure 5.2 scene with two diffuse target lights

Only two lights were required when a rectangular diffuse light was used as a gentler and broad
light was emitted by changing the intensity and size of the area the light was emitted from.
The overall ambience of light became greater too.

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Figure 5.3 Comparison of target lights used to target diffuse lights in the light lister.

The kelvin levels were also increased to make the material appear colder and a slightly
darker grey. This proved to be more effective than altering the material originally applied.

Figure 5.4 Effects of changing the Kelvin levels with a much colder finish to the right model.

6.0 Scene Setup

Once materials and lighting had been
configured, an off- white background was
needed so that there would be a uniform,
white illumination from the surrounding
environment [6].

Figure 6.1 White background environment.

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Due to the fact the correct camera angle couldnt be met, a perspective match was required
when setting up the model for the three different renders. A tutorial [7] was used so that the
perspective of the models matched the IKEA images by adding a reference image into the
viewport then aligning the two. Alignment of the model (in a wireframe view) and background
image was met using the perspective match tool. Although the perspectives were matched it
became evident that parts of model, with correct dimensions, created did not match up with
the original IKEA images. Rather than editing the sizes of parts of the model, it was less time
consuming to address this issue in the post processing stage.

Figure 6.2 Perspective matches.

For the context render a room setup had to be created featuring a wall, skirting board,
wooden floor and reference models. These included and chess board and a mac mini [8,9], as
well as a Plasma TV [10]. Revisiting material editing was required to make the wall and skirting
board matte so that they wouldnt reflect hardly any light back onto the model. The wall had
to be thickened and the face of it tilted back to stop reflecting all of the light that was being
emitted onto it from the front and to allow a top light illuminate to model from the back (it
still appeared flat in the final render).

Figure 6.3 Context render setup.

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The light grey wooden flooring was made using a bitmap of an internet image [11] applied
onto the floor plane. The image was scaled and rotated to the correct position shown in the
context shot and the image illuminated slightly to a) lighten the colour to match the IKEA
image, b) direct light back up from the floor to the model so that light could uniformly hit it.
This wasnt able to be done via another light as the floor would have obstructed the light rays.

Figure 6.4 Wood Floor reference

image.

Figure 6.5 Surface illumination.

Figure 6.6 Illumination makes floor lighter than original internet image.

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7.0 Render Setup

During test renders an output size of 600 x

600px was used for quickness in generating
references for further improvements. This was
changed to 2000 x 2000px for the final render to
increase the quality of the image when later
scaled down and to keep in line with brief
requirements. After considerable time was
spent trying to match shadow strength and sizes
with the IKEA images it was decided that post
processing in Adobe Photoshop would solve this
issue best. Using the max reflection, refraction
and FG bounce values of 6, 6, 4 respectively, the
grain was removed from the final render. Slider
options were increased too in order to obtain a
better image quality and softness of shadows to
make post processing easier.
Figure 7.1 Render setup panel.

Below are a series of images demonstrating the stages of rendering and the altercations made to the
white background render each time:

Figure 7.2 Render with no reflection on mid- shelf.

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Figure 7.3 Render with reflection on mid- shelf.

Figure 7.4 Colour values used for final render.

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Figure 7.5 Kelvin and light values used for final render.

8.0 Post- Processing

The final stage of the process was to enhance the images on Photoshop to mainly match the
perspective of the original IKEA image and to edit the lighting and shadows in each render.
Changing the close up render to match the perspective of the IKEA image meant the original
was placed over the new, changing the opacity as a grid. It was then moved down by selecting
the area with the pen tool and moved over to match the position of the IKEA image. The
gradient tool [12] was also used to create the soft gradient on the top component.

Figure 8.1 Scaling close-up render in Photoshop.

Largely using the brush and pen tool. The shadows and highlights were enhanced along a
stroke path with varying opacities and brushes. The required colours were selected using the

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eyedropper tool sampling colours either from the original IKEA image or the final render
depending on which shadow best suited the overall contrast of the image. Adding a Gaussian
blur softened where two shades (created as a result of the lights in the final render) shadows
would meet. This amount of editing needed to be done as there were shadows missing on
IKEAs images and flat colours meaning that post processing had taken place.

Figure 8.2 Using the brush tool to make a flat colour across draw faces.

Figure 8.3 Correcting component misplacement.

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Figure 8.4 Creating a floor reflection in context image.

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Figure 8.5 Close-up render before (left) and after (right) post processing.

Figure 8.6 White background render before (left) and after (right) post processing.

Figure 8.7 Context render before (left) and after (right) post processing.

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9.0 Conclusion & Final Images

To conclude, the process undertaken in this report shows that using 3DS Max and Adobe
Photoshop can create a believable photorealistic image. Much has been learnt in terms of
light positioning and intensity as well a lot of expanded knowledge in the use of Photoshop.
The aims have been met but if the process were to be repeated a number of changes would
occur:

Try to extent knowledge of post processing in Photoshop further.

Time wouldnt be wasted on finding the correct light i.e. a diffuse light not a target
light.
The mirror tool would have been used on the draw faces to makes both edge profiles
identical however for the purpose of this report that wasnt necessary as that level of
detail cant be seen.
Make use of the exclude tool under the lighting modifier to choose what components
emit shadows (This was discovered after completion).

Below are the final images produced:

Figure 9.1 White Background Final Image.

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Figure 9.2 Close-up Final Image.

Figure 9.3 Context Final Image.

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10.0 References
[1.0] Matt Shaw, M,S, 5/9/2014, (See How IKEA 3D Models the Rooms in Their Catalogues),
Architizer, Available from: http://architizer.com/blog/see-how-ikea-3d-models-the-rooms-in-theircatalogs/ (Accessed 29/1/2016)

[2.0] IKEA, 2012 (online), Available from: http://www.ikea.com/gb/en/catalog/products/10269366/

[3.0] http://www.ikea.com/gb/en/assembly_instructions/liatorp-tv-bench__AA-258047-16_pub.pdf
[4.0] Devos Custom Woodworking, 2013, (Wave & Wave Fillet Profiling) Available from:
http://www.devoswoodworking.com/designing-wood-countertops/edge-profiles.html (Accessed
29/1/2016)
[5.0] Adam F. Ross, A,R, 22/5/2015, (Rounding corners with fillet). Lynda, Available from:
http://www.lynda.com/3ds-Max-tutorials/Rounding-corners-Fillet/373552/388356-4.html
[6.0] Glithro, RG., 2015 Lecture 4 Materials and Maps Unpublished
[7.0] Adam, Crespi, AC., 2013. (3ds Max 2014 New Features) Lynda. Available from:
http://www.lynda.com/3ds-Max-tutorials/3ds-Max-2014-New-Features/1475332.html?srchtrk=index:1%0Alinktypeid:2%0Aq:perspective%2Bmatching%0Apage:1%0As:relevance%
0Asa:true%0Aproducttypeid:2 (Accessed 30/1/2016)
[8.0] Dariuz_ b, 10-10-2015, (Chess Board), CGTrader: Available from:
https://www.cgtrader.com/free-3d-models/sport-hobby/board-game/chess-table-with-figurines
(Accessed 31/01/2016)
[9.0] Mcbabbions, 29-11-2015, (Mac Mini G5), CGTrader: Available from:
https://www.cgtrader.com/free-3d-models/electronics/other/mac-mini-g5 (Accessed 31.01.2016)
[10.0] Chris Bryan, C.B, 31/01/2016 (TCL TV), 3DS Max File: Available from scenes folder (Accessed
31/01/2016)
[11.0] Wood 4 Floors, W.4.F, 2015, (Light Grey Oiled Oak Floor) Wood4Floors, Available from:
https://www.wood4floors.co.uk/wp-content/uploads/2015/06/Light-Grey-Oiled-Oak-EngineeredParquet-wood-floor-200mm.jpg (Accessed 30/01/2016)
[12.0] PotatoGraphick, 2014, Using the pen tool to create paths and add gradient backgrounds in
Photoshop (video, online). Available from: https://www.youtube.com/watch?v=koI_5pMVnKQ
(Accessed 31/1/2016)

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