Just Playing Around: Continued


我用很多时间在谷歌地球/ 必应地图上学习大地和抓取屏幕截图。而且，我发现这些资源在纹理和发现平面图的元素方面同样有用。例如，在我最近的一个博文中，我上传了一个我尝试的不同的风格和外观的总平面图。我需要一些树木和草的纹理作为图的一部分。我在谷歌地球发现附近有一个高尔夫球场，这正是我一直在苦苦寻找的。

I spend a lot of my time going onto Google Earth/Bing maps studying sites and grabbing screen shots. However, I find these sources equally useful for textures and finding site plan elements. For example, in my last post, I uploaded an image of a site plan through which I was experimenting with different styles and looks. I needed some trees and grass textures for part of the image. I noticed a nearby golf course in Google Earth had exactly what I was looking for.






这些树木的图特别能满足我的要求，因为树木周围的草地比树木和阴影更亮，使其更容易从背景元素中扣出来。

我用“减淡”工具将范围设置为“亮点”，并开始把草地变亮，这样我只留下了树木和阴影的细节。

These images of the trees worked particularly well for my needs because the grass around the trees was much lighter than the trees and shadows making it much easier to extract the elements from the background.
With the “Dodge” tool, I set the range to “Highlights” and began lightening the grass even more so that I was left with just the detail of the trees and shadows.




我使用“多边形”工具选中图片中的树木，拉到我的平面图的 PS 文件里。为了移除树周围的白色部分，我设置图层混合模式为“正片叠底”。使用这种混合模式消除了图层的明亮的区域，并保持该层中最黑暗的部分，这就是我把草地变亮几乎为白色的原因。

With the “Polygonal” tool, I roughly windowed the trees and dragged them into my site plan Photoshop file. To remove the white part of the cutout trees, I set the layer blend mode to “Multiply”. Using this blend mode removes the light areas of the layer and keeps the darkest sections of the layer, hence why I lightened the grass to almost white.




使用这种方法节省了大量的时间，这种方法与使用橡皮擦工具或魔术棒工具来选择性切断周围的树木和阴影的方法比起来要更好。

Using this method saves a lot of time and looks better compared to trying to selectively cut out around the trees and shadows using the eraser tool or magic wand tool.



PS 图层：接下来，我也上传了我完成总平面的不同图层。我会尝试在平面图增加链接到不同的区域，来展示我是怎样完成每一个图层的。

PHOTOSHOP LAYERS: Below, I have also uploaded the different layers I used to compile the final look of the site plan. I will try to add links to the different areas of this site showing how I achieved each layer.



1. 上图中，第一个图层，是一个 SU 模型导出的简单图片，面样式设置为“隐藏边线”和“X光透视”。我也打开了“辅助线”。关于解释怎样增加和打开“辅助线”的步骤可以看我的3D 蓝图教程。

1. Above, the first layer is simply an exported image of my Sketchup model with the face style set to both “Hidden Line” and “X-Ray”. I also have “Guides” turned on. Steps explaining how to add and turn on guides can be see in my 3D BLUEPRINT tutorial.



2. 接下来，我创建了一张 SU模型渲染图，来获得阴影信息。设置和渲染素模，可以看我的素模渲染教程。

2. Next I created a clay rendering of the Sketchup model to get the shadow information. To set up and render a clay model, check out my CLAY MODEL RENDERING tutorial.



3. 渲染图中的阴影看起来还是有一些扁平，有点假，所以我又渲染了一张素模，将作为一个“环境光遮蔽”图层。我有两种方法来获得这种效果。第一种我采用快速途径，使用 Kerkythea。我解释了怎样在柔和的影子教程的1:46标志中完成它。如果跟渲染比，更擅长 PS 的话，这个步骤也可以用 PS完成。请访问我的环境光遮蔽教程来看怎样用 PS 出效果图。

3. The shadows in the rendering are still reading a little flat, so I also rendered a second clay model that will act as an “ambient occlusion” layer. I have two ways that allow you to get this effect. The first is the faster route and uses Kerkythea. I explain how to do this at about the 1:46 mark of the SOFT SHADOWS VIDEO tutorial.  This step can also be accomplished manually if you are more comfortable in Photoshop rather than using a rendering engine. Visit my AMBIENT OCCLUSION tutorial to see how to manually create this layer in Photoshop.



4. 我也使用了 SU 模型导出了另一张图，面样式为“阴影纹理” 赋予了一些基础颜色信息，并且可以方便地识别步行道和其他建筑元素。

4. I also used an exported image of my Sketchup model with the face style set to “Shaded with Textures” to give some basic color info as well as allow me to more easily locate the sidewalks and other architectural elements.



5. 最后，我编辑上面的图层，并叠加一些污渍纹理和我前面提到谷歌地球的元素。你们中的一些人可能会问为什么我会用这么多图层呢？许多图层可以被组合在一起，比如渲染 Kerkythea 素模和有贴图的模型，或结合 X射线 和有颜色的 SU导出的图像。我把这些分开的原因是因为这样我可以单独调整每一个图层的不透明度和混合模式，拥有更好的灵活空间，从而获得最好的效果。每次渲染我要做的就是与别人的稍微有些不同，因此需要做出一些相应调整。另外，设置许多的图层可以让你试验更多独特的风格。

5. Finally, I compiled the above layers together along with some grunge textures and Google Earth elements mentioned earlier in this post. Some of you may ask why so many layers? Many of these layers could have been combined together such as rendering the Kerkythea clay model with textures turned on, or combining the x-ray and color Sketchup exported images. The reason why I keep these separate is so that I can adjust the opacity/blend modes individually of each layer allowing for more flexibility towards reaching the best final look. Every rendering I do is slightly different than the others and thus requires different adjustments accordingly. Plus, setting up the many different layers allows for more experimentation when looking for that unique look.


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