Tag Archives: coronarenderer

Tricorn Black


The house is inspired by traditional English Contemporary design juxtaposed in a tropical environment.

The goal was to utilize the high quality materials and fittings and introduce some modern elements such as the interior glass panels as well as bring in as much natural light as possible.


The high quality materials such as the floorboards, marble and gold fittings had to be balanced against the exterior elements. This created a simple color palette of Gold, Black and Green. The timber finish for the floor also brings in the natural elements from the exterior such as the timber awning and natural lush.

The purple and yellow hues from Katarina’s painting on the wall was a useful way to break up the two areas of the house and also an opportunity to use a nice colorful element such as the Zebra plant. The use of the gold fittings and ceiling elements highlights the tall 3 meter ceilings and spacious kitchen cabinets.


The interior design and paintings were provided by Katarina Kondelova, who I highly recommend for any 3D artists who need an extra eye on their projects.

I took a lot of inspiration from Kaylen Flugel Design and Mowery Marsh Architects as they had some similar color palette and design’s from their past projects which helped with some of the details of the image.

The background photography was sourced from Unsplash by the artists Cody Board and Ralph Kayden.

The Zebra plant textures were shot on my Canon 5D and color corrected using an x-rite Macbeth chart. These were put through the PBR process using Bitmap2PBR which takes only a few seconds to output all the necessary maps for 3D.

The statues and sea shell on the books were provided by Oliver Laric. These are Photogrammetry models, for those unfamiliar these are photos taken from many different angles which create a point cloud image which can be then turned into 3D geometry/mesh. These are also available to download from his website linked in the credits below.

All images are balanced using traditional composition methods such as Rule of Thirds, Phi Grids and the Golden Spiral. You can see my previous project which goes into more depth on this subject.

The scene is also available for download for 3dsmax/Corona here. It is completely royalty free, you can reuse parts of it or use it entirely for any purpose. You can learn from the scene; how the lights are set up, cameras, depth of field, lightmix, tonemapping, materials, textures and post production files all included.



Images to Physically Based Rendering Utility

Acrylic Artwork & Interior Design:

Katarina Kondelova


Lennart Demes


3D Statue Geometry:

Oliver Laric

Background Photography:

Cody Board

Ralph Kayden

Design Inspiration:

Mowery Marsh Architects

Kaylen Flugel Design

Perchgrand Chandelier


4 Composition Tips

The Golden Ratio

The ratio of 1:1.618 is a quadratic solution. It has many names, some of which you will see in the following images such as the Fibonacci Ratio and the Golden Mean. As most artists know this design aesthetic is most commonly found in plants, planet orbits, bone structures and often used in Renaissance Art.

In this particular set I am using it to draw attention from the left side of the image to the bottom right taking the eye on a journey around the window. It can seem a bit daunting at first compared to using a typical rule-of-thirds grid but its always fun to experiment when the opportunity arises.

The Golden Triangle

There is no hard and fast rule with this one other than understanding that the two points which are highlighted in the center are where the eyes go first. It can often be used for balancing outdoor elements such as bridges or mountains to create an interesting effect or draw your eye to a specific location first. In this case the edge of the tapware and edge of the basin and window.

It can also be incorporated with other compositional elements when given the chance such as the Phi Grid (more on this in the next post). You can see good use of this method in the works by Frans Snyders.

The Phi Grid

Not to be confused with the rule-of-thirds, the two center lines are usually closer together representing the ratio of 1:1.618 when one of those lines are removed. You can see this more clearly in the image labelled Divine Ratio where the most important information is in the lower portion. Remember you can do this vertically as well, it’s a versatile tool. Davinci’s famous “The Last Supper” shows how this can be used effectively. He also influenced many great artists with his mathematical and artistic skills.

In the Phi (center) image I have used those centerlines to denote the feature element of the image in this case the tapware for the bathtub. Using the center is used in portrait photography.

The Center Cross

The Center Cross can be powerful when used in architecture, especially when you have mirrored elements such as the towels, basins and mirrors in this case. This is prevalent in the Mirror Vertical image. In the Split Horizontal image, having the wall element separated in the center we can highlight the lower half of the image with more detail and keeping the top half simplified.

PBR Textures for 3dsmax Vray/Corona (The Short Guide)

This is a reference chart for those who want a quick way to set up your PBR materials in 3dsmax to get the correct look. Sometimes you will buy a model and it comes with many textures, ill clarify these below.


Vray Roughness/Metalness Workflow

  • Reflection is always white (same as having a white bitmap).
  • Set the IOR value for the dialectic in Fresnel reflections > Frensel IOR.
  • Set BRDF > Use roughness.

Vray Glossiness Workflow


  • Similar notes as Metallic Workflow however change these properties below.
  • Change the BRDF > Use glossiness.
  • Replace the Roughness bitmap with Glossiness.

Corona Workflow


  • This method is the same as Vray Glossiness workflow.


Comparison Renders

Conductor (Metal)

Vray Roughness/Metalness Workflow:


  • This is a Conductor the Metalness input is set to 1.0 (same as having a white bitmap).
  • Reflection is always white (same as having a white bitmap).
  • Fresnel has no effect as its using the Metalness control, as long as you enable the Fresnel reflections checkbox.
  • Set BRDF > Use roughness.


Vray Glossiness Workflow


  • Change the BRDF > Use glossiness.
  • Replace the Roughness bitmap with Glossiness.
  • Disable Fresnel Reflections checkbox.
  • We now have color in our Reflection bitmap, which means the grazing angle will not look correct without some help from an additional falloff. Refer to Vray’s Guide for more information. Specifically this quote: “The Reflection should be set to white so as to get the proper reflectivity and preservation of energy; without this, the glancing angle will never be 100% reflective — which it should be.”
  • Place your Reflection bitmap into a Falloff node (Map 1) in the Reflect channel. Set the settings as below:

Corona Workflow


  • This method is the same as Vray Glossiness workflow except we simply change the Fresnel value to 999 (which is equivalent to unchecked in Vray).


Comparison Renders

Bitmap Import sRGB/Linear

Make sure you import your bitmaps with the correct gamma. This is a reference below to help you with that.

sRGB – Bitmap Gamma 2.2 (or default import):

  • Diffuse
  • Base Color
  • Reflection
  • Opacity
  • Specular Color (if required)
  • Ambient Occlusion (if required)

Linear – Bitmap Gamma 1.0 (override):

  • Metallic
  • Roughness
  • Glossiness
  • Normal
  • Height
  • IOR (If required)

Ambient Occlusion

If you have a material from the internet that looks like the Ambient Occlusion is in the material preview make sure you Composite > Multiply these in 3dsmax so you get the same outcome as the Preview.

Height Maps

These go in the displacement for your material.

Normal Maps

If you know the normal map is authored as DirectX you can leave the default settings on import.

If you know its OpenGL then you need to flip the green channel, otherwise inspect the map visually to see if it looks inverted.

Other Maps

You will often see other maps such as IOR, Specular, etc, these are not required in the above workflows unless you want them ofcourse and understand how they affect the material. For more information on these you can read my other post which goes into the use of these maps and when you need to use them – which is more often when you have a material with mixed dialectrics and conductors.

Cinema 4D

There is a great guide to do the same technique in Cinema4D here.

3D Models – Corinthian Doors Infinity Range

The first instalment of Corinthian Door series to come. This is the Infinity Range and includes 9 doors, all rigged for animation complete with locks, latches, screws and hinges. These are typically Entrance Doors so open outwards only.

The files also include a version for Corona/Vray, Blender, OBJ/FBX. All with materials/textures included. The Corona/Vray files also have a version with Chamfer modifiers so the artist can control how they would like the bevels to be. There is also a mesh version for those who are happy with it as intended. These models are designed to be high quality while being low poly best suited for kit-bashing.

For a closer look at the technical details you can check out the link below:


3D Models – Study Areas

A collection of 3D furniture stock for Study Areas available for architectural design. My goal is to save artists time modelling furniture allowing them to focus on creating better photo-realistic environments.

Designed for Vray & Corona. There is also an option for Blender Cycles. These models are designed to be high quality while being low poly best suited for kit-bashing.

For a closer look at the technical details you can check out the link below:


3D Models – Dining Tables

Entry Tables available for 3dsmax, Blender, FBX, OBJ for your architectural design. Ensure the best quality products for your residential, commercial and development projects.

Designed for Vray & Corona. There is also an option for Blender Cycles. These models are designed to be High Quality while being Low Poly best situated for Archviz Kit-bashing. You can download the pack or individual items in the link below.


Detailed Specifications:


– Optimized for large interior/exterior scenes. Models & Textures are to be viewed from mid to far distance (closest distance as per render).

– Real world units and has accurate measurements so that 3D people can be placed on chairs and relative items to human heights and sizes.

– Geometry subdivisions where needed to allow for smooth edges without additional geometry where not required.

– Textures are optimized per geometry size – larger objects with higher resolution smaller objects with lower resolution maximizing viewport stability and ram usage when rendering large scenes.

– All textures are tiled and seamless.

– UV’s unwrapped or procedural where required to ensure correct direction and repeating for textures.

– Materials are all in one Multi-Sub Object and labeled so the user can easily distinguish each item. Diffuse textures are re-used in some most cases for Glossiness & Bumps with a color correction / output node for adjusting intensity or value – this allows for quick editing by the user and less textures to load into memory. Designed to emulate a PBR setup however are not game-ready materials.

File Format

– Vray & Corona ready, these are designed specifically for both render engines and look identical in both. Available for 3dsmax 2016+

– Blender 2.8, converted and adjusted materials to replicate a similar appearance to the original model. Embedded textures.

– FBX & OBJ available with textures and materials. Materials will not appear the same as Vray/Corona as they are converted to Standard Materials. FBX Embedded textures.

– System Units: Centimetres

– No additional plugins required other than the render engines themselves.


Additional Information

– Studio & lighting not included.