来自专筑编辑刘庆新的报道。这个周末我有时间制作一些渲染图，来展示剧场设计的外部空间品质。这个项目的页数已经开始增加到不少了，所以我不想再增加页数了。正如我之前提到的，我想让这个项目的焦点在设计流程上，同时还需要添加一些图解。尽管我喜欢满篇透视图，但是我可能会把它们组合在一张单页上，这样可以为设计流程腾出更多的空间。

I was able to develop a couple of illustrations this weekend to help illustrate some of the exterior spatial qualities of the theater design. The number of pages for this project are really starting to add up and I don’t want to add any more than where I’m at now. As I mentioned earlier, I wanted this project to focus on process work and there are still some diagrams that need to be added. While I like the full page spreads of these perspective shots, I may end up combining them to a single spread to allow more room for process work.

这些透视图经过了很多后期处理。单说这张剧场外部透视图，在搜索足够多的人群的图片前，我在 Google 上搜集了很多图。尽管花了很多的时间，你仍然可以发现所有人身上的太阳光线角度是不一致的。在这个案例中，我优先考虑人物透视的正确性，所以这里面的透视是正确的，这意味着我牺牲了正确的光影。

These illustrations were extremely heavy in post processing. The outdoor theater perspective alone took a ton of Googling before I could find enough source images of crowds to cut from. Even with all of that time spent, you will still notice that the sun direction is off on almost all of the people. In this case, I put a higher priority on getting the right view on the people so that the perspective was correct which meant I had to sacrifice the correct lighting.



下图是我在 Photoshop 中操作的截图。SketchUp 模型缺少细节，贴图位置也不正确，这意味着我在PS中要多花一些时间来补偿这种缺失。

Below are some of the screenshots of images as I worked in Photoshop. The Sketchup model is lacking in detail and textures not properly mapped which meant I had to spend a little extra time in PS to offset this lack of development.

上图中你可以看出 SketchUp 模型建的不是很好。但是，它已经包含我所需要的足够多的信息。

Above, you can see the Sketchup model is not very well developed. However, this is more than enough information to allow me to get the illustration that I am envisioning.

Kerkythea 的渲染提供了最基本的阴影信息，对我来说，它是在 Photoshop 中开始工作的起点。任何的渲染项目都会有这一步。我使用 Kerkythea的原因是因为它免费，绝不是因为这个工作流程一定要用它。

The Kerkythea rendering provides the basic shading information for me to begin building off of in Photoshop. Any rendering program will work for this step. I use Kerkythea because it is free but it is by no means a requirement for this workflow.

在 Photoshop 中，我经常以制作背景作为开始，在这个案例中，背景包括天空和植物。这一步只需要一点时间，但是它为我的完成增加了希望，让我能更好地展现我想把这张图要放的位置。另外，一种很好的加工图片的方法是从远景开始处理，然后由远及近涉及到前景。为了找到这种感觉，我花费了很多时间在电视上仔细观看 Bob Ross画画。

I always start off in Photoshop by adding a background which, in this case, includes the sky and vegetation.  This step takes little time but adds a layer of completion that allows me to better visualize where I want to take this illustration. Plus, it’s always a good rule of thumb to start with items furthest back in the distance and work your way forward into the foreground. Another one of those things I picked up from all my hours of watching Bob Ross paint on TV.

正如我之前说过的，我一直在寻找室外人物的图像，我可以将它们剪切下来放在我这张渲染图中。人物背影的图片很容易找到，但是正面图却很难找。找到正确的人物密度也很困难。我既不想让人们看上去过分拥挤，但又不想让他们看上去太空。最后，我使用了 五六张图来得到上图中的效果。同时，图像的透视应该彼此协调，不然整个透视就会变得很糟糕。你也许会发现大部分人物的光线都是错误的，但我并不太在意。我已经尽力而为了。

As I said earlier, I spent forever looking for images of people outdoors that I could cut and add to this illustration. It’s really easy finding views of people from the back, but surprisingly difficult finding views from the front. It was also tricky finding the right density. I didn’t want it to look too crowded, but also not too empty either. I ultimately used about 5 or 6 images to get the crowd shown above. Also, the perspective needs to match closely otherwise the whole shot will look off. The lighting for most of the people is coming from the wrong direction, but I wasn’t too worried about that. I had to take what I could get.

从多个图中剪切出人物的问题是：我的基础渲染图和我使用的其他人物图片的色调不一致。很明显地就能看出来人物来自不同的图片，因为它们并没有很好地融合在一起。而弥补的办法是使用颜色叠加。在这个案例中，我在颜色叠加中使用了一个棕色图层把所有的图像融合到一起。如果你不知道我所说的“颜色叠加”，请看我前面的教程。

The problem with cutting people from multiple images is that there is a disconnect in color tones between my base rendering and all of the different images used. It’s obvious that the people were cut from different photos and they just don’t blend well into the illustration. A remedy for this is to use color overlays. In this case, I used a brown color overlay to blend all of the images together. Check out this tutorial I put together a while ago if you have no idea what I mean by “color overlay”.

对于这张图片，我用 Topaz Labs 软件做了进一步的颜色调整。我使用Topaz Restyle软件来进行试验。虽然该软件它是原来一款用于拍照的软件，但是也同样适用于我的建筑渲染。并且，只需要 30 美元。所以该软件值得尝试一下。

With this image, I did some more color tweaking with software called Topaz labs. I have been experimenting with a program they just came out with called “Topaz Restyle”. It’s primarily photography software but has been great for my arch viz work too. And, it only costs $30. It’s worth checking out.

进行完所有的色彩调整后，最后一步是将渲染图变为黑白色。虽然这样会破坏图片的效果，但是为了配合这个项目中其他所有的黑白图片只能如此了。而且，我本人是非常喜欢黑白图的，我希望这张透视图能以灰度模式被人们解读。

With all of that color editing, the last step was to turn it into a black and white image. It hurt to do this but the rest of my imagery for this project was black and white too. Besides, I’m a big fan of black and white images and I like the reading of this perspective in grayscale.



第二张渲染图有点超乎我的想象。一开始它被设定为日景，但是做到一半它却变成了夜景。工作流和上图相同，但是展现的结构却完全迥异。

The second illustration was a little all over the place. It started off as a daytime scene but then went to a night scene midway through. The workflow was the same as above but with a completely different final result.

这个图中，SketchUp 模型也不是建很完整，部分贴图位置也不正确。但是，这可以在 Photoshop 中修正过来。

Again, the Sketchup model was not fully developed and some of the textures were not mapped correctly. However, this was overcome in Photoshop.

我在 Kerkythea 中作为日景渲染了模型，但是在室内添加了灯光来给设计赋予细节和生机。

I rendered the model in Kerkythea as a daytime scene but also added lights to the interior to give detail and life to the design.

在 Photoshop 中，我首先添加了天空和远处的树。接着我转向近景中的草地，将许多不同的贴图结合起来以此得到茂密的视觉效果。同时，我还给建筑添加了一些纹理。

In Photoshop, I first added the sky and the trees in the distance. I then moved to the grass in the foreground and combined a couple of different textures to get the “overgrown” look. This is also the stage where I added more texture to the building.

该项目背景实际上被设定在茂密的树林中，所以我想放置一些树来营造更好的周边环境。不像拥挤的人群图难找，树的轮廓的图片是很容易找到的。这一步虽然很快但是却产生了动态的效果。

The camera is actually sitting in a heavily wooded area therefore I wanted to throw in some trees to give a better sense of the surrounding environment. Unlike crowds of people, it is very easy to find tree silhouettes. This step went quickly but yielded dramatic results.

最后，我决定让这张图的背景设置为黄昏。为了实现这个目标，我叠加了蓝色，并将照片颜色调暗，这样室内的光线就很显眼。

At a certain, point, I decided I wanted this to be a dusk scene. To do this, a blue overlay was added and some vignetting around the edges which allowed the interior lights to really pop.

和其他渲染图一样，我把这张图的颜色转变为黑白色。在这个案例中，我认为这张图像的灰度模式比彩色模式更具有震撼力。纹理设计的很好，树的轮廓和其后的建筑产生了很棒的明暗对比。时间允许的话，我还想再做几张渲染图。但是我想在夏天结束之前再重新制作这部作品集的其他几个项目。敬请期待！

Similar to the other illustration, I turned this into a black and white image. In this case I think the image in grayscale is stronger than in color. The textures read really well and there is a nice contrast between the silhouette of the tress and the building behind them. Depending on time, there are a few more shots that I wanted to illustrate. However, I want to revisit a few other projects for this portfolio before the end of the summer. Much more later.

出处：本文译自visualizingarchitecture.com/，转载请注明出处。