Is it okay to use free/paid models in a portfolio?

[Krisztian Gulyas]

I'm creating a new portfolio, and I found some really nice, free 3d models (here). I would you use two of those in a scene, an armchair and the bed. They would be visible in a house through a window (it's not a close up or not the focal point of the image).

 

Should I create everything myself, or is it okay to use sometimes free (free for commercial use) 3d models in a scene? ...and what if I buy models?

 

Is there any difference between free and paid models when it comes to telling your future employer that those models are not made by you, but you bought/downloaded them OR just the composition matters and what can you create on your own (without the bought/downloaded models)?

 

Thanks!

Edited September 8, 2014 by krisztiangulyas

[philippelamoureux]

Since you'll most likely use pre-made assets in your future work , i'd say it's fine. Try to put the focus on other things such as the composition, the lightning, the materials, etc. Try to reach incredible realism (to see how far you can go). Especially if the furniture isn't even the main point of interest in the scene! Just mention what YOU did on the picture and don't tell anything about the rest. If they wanna know they'll ask!

 

I guess paid models are just of much better quality (most of the time) than free models. It's good to know how to model stuff on your own though. But you'll never have enough time to do everything yourself when you'll work on a real project. I also use the models you linked, I think they look good.

 

Ultimately all that matters is the design of the object (arch, industrial design, etc) you are trying to picture. The rest is embellishment. Everybody use the same plugins to make pretty surroundings (to a certain extent). Most studios will have a bank of assets...furnitures, grass, folioage, trees, cars, 2d people, materials, etc... the thing that really change is the design and the mood your are trying to achieve!

[notamondayfan]

3D modelling is the core of 3D visualisations, so I'd say modelling is a key part of being a good artist, so in a scene I'd want to see good modelling skills, as well as lighting and materials.

 

I'm not saying model everything from scratch, but if half the furniture would be a good start, along with props and other items.

 

Also taking low quality manufacturer models, then tidying / refining the models is a good skill to learn, as often the free downloads are horrible, and sometimes need re-building anyway.

 

Dean

[Scott Schroeder]

When we hire people, 2 things happen when we get portfolio pieces with stock models:

1. If the person has put they used stock models in their works. We put this into the maybe pile and probably won't look at it again unless there is something incredibly outstanding about the work that they did themselves.

 

2. If the person hasn't put they used stock models and we know that they did. This goes into the trash and gets mocked on the way there.

 

Modeling furniture is more than just furniture. It's about showing skills at something other than boxy walls. It's about showing problem solving and thinking in organic shapes. Architecture is more than just 90 degree angles and placing stock models inside the space.

 

Besides if you use a really cool model and that draws our eye to your portfolio, it is quite a let down to find that the one thing that made us consider hiring you wasn't done by you at all.

 

Stock models are used extensively in the industry, but in portfolio pieces I prefer to see custom made objects. I don't know, maybe it's just because I'm old. The technique Dean pointed out is a great one to try. Get that sub-standard SketchUp chair, use it as a base, and refine it into something high quality.

[Corey Beaulieu]

I don't know, Scott. I see what you are saying and I agree with you to a point, but the last thing I care about is where a chair model came from. I see the importance as which chair was chosen. As others and yourself have pointed out, the Material and Lighting, as well as Composition are key elements, but my next line of inquiry is into whether someone has a sense of design and aesthetic standards.

 

We all use stock models because we need to work quickly so I find it is a more important skill to have a keen design sense. This too makes quick work and better images.

 

I would add that post work and general rendering knowledge should be reflected in your work. In your quip about the image you should definitely call out the models that are not yours and then mention as much information as you can without boring the viewer: VRay with HDRI Lighting; Photoshop; Trees from Evermotion; etc..

[Scott Schroeder]

I totally agree Corey. I guess it all comes down to where you want to apply and their workflow. Since I work in house for an architect and we have in house interior designers, most of our furniture is spec'd out so we end up creating a lot of custom pieces. Initially during the bid/sd phase we'll use stock models if possible. Then during dd/marketing when the renders catch up with interior design, we tend to do another round of renders with actual pieces. We also have a very small team and a very large workload which leads us to look for extremely well-rounded individuals so they can fill any role at any time.

 

My overall advice is. It's never a bad thing to show yourself as well rounded as possible. If your portfolio is all stock models in all images, that might raise a few questions in your overall ability in some places. I would say play it safe and maybe create the largest pieces of furniture yourself and leave all of the small knick-knacks for stock models. Things like landscape, that's stock models all the way.

[Tommy L]

Scotts right, a portfolio is meant to show your skills.

If I was looking at a portfolio and the professional work (as in work done for a previous company) was full of stock models then thats ok, its a commonplace thing to use stock for client work. The stock has to be in the right context though. If theres a piece of furniture that looks a little out of place, I'd assume the 3d guy just grabbed a model and didnt think too carefully about the final appearance of that design decision, or worse, didnt have the design chops to make that decision effectively in accordance with the final aesthetic.

If there was personal work in there where the models were ALL stock I'd be a little wary. But again, it all comes down to the look of the final piece. Interior designers are just pulling stock 99% of the time anyway, theyre shopiing. Not many have the kind of client that foots the bill for custom.

[Nic H]

anyone can arrange furniture.

a 3d artist should be able to poly model properly

 

arch vis artists are notorious for having a very limited set of technical skills - compared to 3d generalists from advertising, vfx, one man studios

one of the most common things they like to do is fiddle with render settings and try to avoid modelling

[Corey Beaulieu]

anyone can arrange furniture.

 

That is a pretty dumb statement. Interior design is an industry, a profession, a college degree, a specialty, and if anyone could do it, then it would not be of any importance to anyone. Don't be so glib if you are trying to make a point.

 

Your statement is ultimately correct that an artist should be well rounded and that Arch Viz artists fall shot in a lot of ways, but the people you are referencing, the Advertiser, the VFX Artist, etc... make for not very good Arch Viz artists. Representing architecture in a real way takes an understanding of it that a generalist rarely has.

 

Modeling is important, agreed, 100%. Great designers MUST be great modelers or they cannot properly represent their designs, but I don't think it is a great add to their abilities to be able to create great VFX or Ads.

 

It is equally important to specialize at it is to generalize.

[Nic H]

i disagree

it depends what level of work you aspire to

[Corey Beaulieu]

Why would you pursue something if not wholeheartedly?

[heni30]

I disagree with this purist approach that an arch viz artist needs to be an accomplished modeler.

 

If there are people who are out there who can model a project in 1/10 the time it would take me and do a better job (because that's what they specialize in) and will charge me 10% of the project fee, it seems silly to waste the time doing it myself when I could be taking on other jobs. This from a business point of view.

 

You do need some expertise to see if something was done correctly or to make changes if necessary but the main thing I am offering my clients is my aesthetic expertise. The nuts and bolts can be done by someone with a 2 yr. technical degree.

Edited September 9, 2014 by heni30

[markparsons]

There are varying degrees of skill within this industry. I think it's wholly admirable to want and attempt to teach yourself advanced poly modelling, but I personally buy 3d models from DesignConnected several times a month and love using and reverse engineering them so that I learn more about the process.

 

I'd say about 90% of the time I end up at the very least rebuilding some or most of the shaders and have been pleased with the speed and results of not being forced to model small accessories. With that being said, I often freeform model in Rhino/Grasshopper and after designing a building have very little time to start poly modelling Hans Wegner chairs. I personally have bought many of Bertrand Benoit's scenes and models so that I can see how he creates his shaders and how beautifully economic each model is in terms of polys. Using great stock models can help you create your own and I recently started modelling photoreal beds for sale as I've found most of the stock bed models are very lacking in quality

 

As stated, one can also download models from manufacturers and rebuild them; that has taught me a lot about proper poly modelling as well. Hay and AndTradition are good examples.

 

I don't think it's as black and white as everyone is saying. Do I use them often? Absolutely? Does that mean that using them excludes me from being capable of polymodeling myself? No. Why would it? I'd love to be a whiz with Zbrush and am quickly learning because some of those sculpt jobs look so fun to do, but I like to learn things as they come and fundamentally understand them and helping out another artist by buying their turbosquid work so you can eventually figure out how to make something as good or better isn't in any way a negative thing.

 

In an ideal world I'd love for every job I have to be a passion project but it's very rarely like that.

[Scott Schroeder]

I disagree with this purist approach that an arch viz artist needs to be an accomplished modeler.

 

If there are people who are out there who can model a project in 1/10 the time it would take me and do a better job (because that's what they specialize in) and will charge me 10% of the project fee, it seems silly to waste the time doing it myself when I could be taking on other jobs. This from a business point of view.

 

You do need some expertise to see if something was done correctly or to make changes if necessary but the main thing I am offering my clients is my aesthetic expertise. The nuts and bolts can be done by someone with a 2 yr. technical degree.

 

So you have people skills?

 

This discussion isn't about stock models in paid work, where a client comes to you and just wants a room and leaves the rest up to you. This is about portfolio work, which is meant to showcase your skills you can bring to the table.

 

After going through a stack of resumes I can say this about the pool of candidates. 49% were too specialized in one area or another. 49% were way too generalized and didn't really excel at anything. 1% can't read instructions. The final 1% were the ones we called back. That's not to paint a bleak world view either, as there are plenty of good candidates out there. But it's more to show that the bulk of your job competition is going to be either too specialized or too generalized or just have no idea what is going on. Being well rounded makes you instantly rise to the top of the callback list. The worst thing you can do in this industry is say to yourself, "I'm good. I'm happy with my current skill set and I don't need to learn anything else."

[heni30]

I was just talking about prioritizing what skills you are going to focus on developing given a finite number of hours in a day.

 

Which implies that spending a lot of time on developing practical skills like modeling might not be the best strategy to pursue.

 

But we really can't argue with you given the insights you have from the position you're in.

 

You've mentioned in other threads that what you look for inn portfolios is someone's ability to create an image with a strong impact through the creative use of lighting, composition, telling a story, etc. Modeling prowess seemed to be secondary.

 

So it seems like a balance is best - having an adequate skill level to get your foot in the door - but being aware that it's something that can be relegated remotely in a work situation.

Edited September 9, 2014 by heni30

[Corey Beaulieu]

George,

 

The end result of all of this is the ability to put great images together and seal them up in a book you call your portfolio. No one will ever turn away great work.

 

I think what Scott is saying is that given a portfolio, the barrier to entry is good work. If one digs into the next layer to read about the images they are seeing and only gets to read that you downloaded the material, the lighting, settings, and models themselves, then they are forced to wonder what it is you are exactly capable of. If you can be the guy, the person, who can achieve a great image on your own then you are going to stand atop the crowd.

 

It is important to be a well-rounded artist in the sense that you can face challenges and overcome them. It isn't important to be the ace of all modelers or the ace of all things Vray, but it is important that you can show the ability to get your hands dirty in order to complete a top notch image.

 

Scott has reminded us that the point of this is a portfolio and this is all true. in the real world environment you may be called on very little to model or whatever and your ability to create a quality image will be all that matters, but a hiring position wants to know you can help get them out of a jam too.

 

Everyone talking about this subject is likely to contradict themselves here or there because a great artist is hard to come by, but when all that we have is a portfolio of pictures and descriptions there is something to being multifaceted. It just isn't the end-all-be-all.

[Krisztian Gulyas]

This would be only one image, so I think it is okay (based on your opinions as well) to use downloaded models that are not the main element of the image.

 

In my portfolio I created a living room and kitchen, modeled myself everything.

I created an exterior scene of a house with a lot of post work (actually 90% of the work was done in PS) -- in this image i used the models I found, and now I'm working on a close up of a furniture (or maybe I'll create more than one) to show the materials and detail.

After that I planning to create a exterior scene with a lof of details, everything 3d, little post work.

 

You are talking about using 3d models in everywhere or not at all, but as I see now, it's fine to use them if those are not the main part of the image. For example I want to show my PS skills, then I can use a few downloaded models, and in the next image I model a few pieces of furniture and a complex building to to show my modeling skills.

Edited September 10, 2014 by krisztiangulyas

[ismailrebbane]

Hi,

 

I agree with Scott on some of his points, i think it will be wise to have a goal for your portfolio as well.

 

to put things into perspective a bit,

 

let's say that you like to create a portfolio in order to apply to a 3d Visualization Studio.

 

Research

 

First of all, you need to do some research and have a list of studios ( that you'd be so happy if they hire you).

 

This is very important, as it will give you a broad scope about what is it that, you should include in your portfolio, so that they get interested to hire you or do business with you.

 

you should be clear about that, brainstorm all the information about what they do, in what kind of sectors they are in, which country etc...

 

This not only will help you get ideas about what kind of work to create in your portfolio, but also give you the ability to talk with them with a language they understand.

 

when you show studios work that is similar to theirs, quality and genre, they are more likely to to listen to you.

 

Expertise

 

Second, it's okey to use free 3d models, the most famous 3d visualizers do, it doesnt mean you don't know how to model, you just need to do some few things to convey the HR, that you have modeling skills, and yes i know some visualizer that have only one task, lighting and shading, they don't do any modeling!

 

so how you can tell you future employer that you got the skill?

 

here is some ideas,

 

1 - Tutorials.

 

Making training about the skill.

 

2 - guest post ( making of).

 

For one of your works, you can add it to your portfolio as well, it will get them an idea about your workflow.

 

3 - social endorsement.

 

Use linkedin, facebook, forums etc..

 

things like that

 

Hope this will get you some ideas to start.

 

Best,

 

- Ismail