IT SEEMS THAT SINCE THE f irst days of 3D visual ization, no other architectural element has garnered more attention than the ‘wal l ’ . One of the most commonly asked questions between fel low 3D visual ization art ists is, “How do you create your wal ls in 3D?” The question is bound to be answered a number of dif ferent ways depending on who you ask and their experience level , but the question is so important to so many of us because the wal ls are usual ly the f irst part of a bui lding that we create, and arguably the most important. It is, in some ways, the real foundation on which other bui lding elements are added. And unl ike other crit ical ly important scene elements l ike vegetation, cars, backgrounds, etc. , wal ls leave no room for art ist ic interpretation, and neither do the objects we place in or on our wal ls. Extraneous objects, l ike cars, are certainly important but are usual ly not the focus of a project. In most cases, a bui lding is the focus of a project and although our choice in cars may not appeal to our cl ients, it is certainly understood that these types of objects are open for some degree of art ist ic interpretation, and as such, disapproval is usual ly not considered an error. Walls, on the other hand, need to be created with precision and any deviation from the data provided in the architectural drawings is usual ly considered erroneous. It ’s no wonder then why so many 3D artists are interested in the techniques with which others create these crit ical ly important object types.