由专筑网刘庆新，vigo编译

我曾经尝试过做一些室内渲染并想把图的分步操作发到博文上来。但是这种场景是很难渲染的，因为设计中会涉及很多方面，我想找到一个画面，它能恰如其分地捕捉到很多设计元素。最后，我将会通过创建几个室内镜头来讲述整个故事，但是这一张似乎展示出了各个元素的图层。

这张渲染图的操作步骤和我发表的其他图一样。我以一个Sketchup模型作为开始，在金属和木材材料上创建了一些纹理。

I have been experimenting with some interior illustrations and wanted to post a breakdown of this image.  Determining the view for this shot has been difficult because there is so much going on in the design, and I wanted to find a view that properly captured many of the design elements. Ultimately, I will probably need to create several interior shots to tell the full story, but this one seemed to do the job of expressing the layering of the elements.
The breakdown of the image is like most of the others that I post. I started with a Sketchup model and created some textures for the metal and wood materials.

Sketchup model with textures off/sketchup模型的白模

Sketchup model with textures on/带纹理的Sketchup模型

Base rendering directly out of V-Ray/用V-Ray直接做基础渲染

Final image after Photoshop post processing/用Photoshop进行后期处理的最终效果图

当选择视野的时候，我反复琢磨过一些事情。设计包括一些结构的图层和阴影的图案。我想让场景表现出这些元素，并显示出这些元素图层是怎样分层的。这意味着要大角度地转换视野，避免墙壁之间相互遮挡，或者避免钢结构框架阻挡室内空间的视线。材料本身通过使用明暗色调和冷暖色调也帮助展示了分层。最后，画面中又增加了一个薄雾的效果，更好地突出了画面的深度感，分层效果也更加明显。

There are several things that I was juggling in my head when I was deciding on the view. The design contains several layers of structure and sun shading devices. I wanted the view to express these elements and show how these layered on top of one another. This meant shifting the view around quite a bit to avoid certain walls covering up other walls,  or letting steel structures block views of the context. The materials themselves also help express the layering by using dark and light tones along with cool and warm tones. Finally, a hint of atmospheric haze was added to give a better sense of depth and further enhance the layering effect.

我想通过遮挡的蓬顶产生的阴影和明亮的室外产生一个对比。场景的漂亮之处就是图中的明亮区域创造出一个跨越整张图的很强的对角线移动效果。这不仅组织的很漂亮，而且也吸引观众的眼睛随之移动。

I also knew that I wanted to play up the contrast of the bright exterior from the shadow generated by the shading canopies.  What is nice about this view is that the light areas of the image creates a strong diagonal move across the illustration. This is not only nice compositionally, but it also encourages the viewers’ eyes to move around the page.

最后，画面考虑到三分线的原则。地平线直接放置在整张图底部的三分之一处，远景的收敛线落到了图的右边三分之一处。我不经常遵循三分线的原则，但是建图的时候，我会在心里牢记这一点。

Finally, the view takes into account the rule of thirds. The horizon is placed directly on the bottom third of the page and the converging lines of the perspective fall on the right third of the image.  I don’t always follow the rule of thirds, but it is something that I keep in the back of my mind when setting up images.

我在Macbook Pro笔记本中以5000px x 3125px的像素来渲染图，期间花费了我两个小时，这反而给了我更多分析工作的时间。我在Photoshop上花了很多时间，但是关键是你没有必要大规模渲染来产生高清图。照这样说，我没有在任何纹理中使用贴图，也没有用大量的光来下载场景图，因为这确实增加了渲染时间。我的Photoshop文件只有超过1.5GB大小，而里面的图通常有5,000px宽度。以我的经验，有许多图层的渲染图的宽度超过6000px或7000px，将会开始生成PSD文件，这样就会很难管理，除非你有一个惊人的显卡。

I rendered the image out at 5000px x 3125px on my Macbook Pro and it took about 2 hours. This isn’t bad considering the resolution that I am working with.  I spent quite a bit more time in Photoshop but the point is that you don’t need massive rendering farms to be able to generate high res images. With that said, I am not using displacement maps on any of the textures nor am I loading the scene with a ton of lights which can really increase rendering times. My Photoshop file grew to just over 1.5 gb in size which is typical for my illustrations at 5,000px wide. In my experience, images over 6k or 7k px wide with lots of layers will start to generate PSD files that are difficult to manage unless you have an amazing graphics card.

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