Interiors: Abstract to Real

由专筑网李韧，蒋晖编译

如果你没有浏览过我的网站，你不会知道在过去的几个月里，我在整理我的作品集。在各个项目之间，我希望能够填补一些缺失的设计故事。在这个案例中，我将沙漠住宅项目的室内抽象透视图放在了一起。希望这些透视图给我探索色彩与肌理的灵感，后来，我对这些室内图像愈发感兴趣，因此制作了一些高清的图像。

在我的网站中，我很少制作室内透视图的教程，其中一部分的原因是室内空间需要有许多的细部设计。我没办法只用PS来完成内部空间的制作，那样就意味着需要花费大量的时间在这份工作上，因此我会避开此类的工作。但是，在沙漠住宅项目中，我觉得可以通过一些真实的室内空间来阐述其中的关系。

虽然我没有花很多时间来制作图像，但是我仍然把它整理了出来。其中有一些模型和基本渲染的图像，通过这些图像和模型你就可以了解每个部分的深度，以及后期PS的制作内容。

If you haven’t been to my site in a while, I have been taking the past several months to piece together my new Portfolio Volume 05. As I go from project to project, I look to fill in gaps of missing information in the storytelling of the design. In this case, I had previously put together some abstract illustrations of the interiors of my Desert House Project. These illustrations helped me explore some color and texture ideas without getting lost in the details. However, later, I became interested in taking these interior images one step further and developing illustrations with more resolution and clarity.
I don’t create many interior illustrations on this site partly because interiors require well resolved models with lots of detail. I can’t simply rely on Photoshop to fill in information of interiors like I do for exteriors. This usually translates to more time, and since all of the work on this site is done in my free-time, I tend to steer clear of a lot of interior work. However, with the Desert House Project, I felt more resolved and realistic interior images were needed to close out the narrative.
While I didn’t have a lot of time to break down these images, I still wanted to post them here rather then keeping them hidden in the portfolio. I am including images of what the Sketchup model and base renderings looked like so that you can get a sense of how much the 3D model was developed versus how little things were manipulated in Photoshop.


1、原始抽象图像

这些图像在不久之前才制作完成，目的是探索一些色彩与肌理的灵感，以及内部空间的感受。我把这些图像放在作品集之中，并通过寻找一些更加真实的信息来表达最终的成果。

01. Original Abstract Images
The above illustrations were first created a while back to explore some color and texture ideas as well as get a quick sense of the interior volumes. I still plan to put these illustrations into the portfolio, but I also need something a little more real to better explain the final result. The original post for these abstract images can be found Here.


2、SU模型

在构思室内空间时，我添加了一些细节，诸如窗框、家具、肌理等等。在制作外部图像时，我已经保留了一些内部空间。但是，我在内部天花板中添加了百叶体系，这样看起来能够呼应外部的百叶窗，同时也构成一些室内大空间，另外还有一些壁炉、楼梯等细部。

2. Sketchup Model
Upon revisiting the interiors, I started with adding more detail such as window mullions, high poly furniture, and better textures. I already had much of the interior built from when I generated exterior images. However, I added a louver system on the inside ceiling to help relate to the exterior louver system and to also help define some of the larger spaces inside. A fireplace and stair were also added in.

我并不喜欢看到诸如瓷砖等重复的肌理，因此，我为木地板和石膏墙体制作了两张材质贴图。每张贴图都由一些细小的肌理叠加构成，因此这个图面看起来为无缝图像。另外，我还制作了凹凸贴图与反射贴图。

I really don’t like seeing textures repeat aka tiling, so I ended up building two large textures for the wood floors and plaster walls. . Each texture is made up of several smaller textures copied/cloned/overlaid together and setup to be seamless. I also made corresponding bump and reflection maps.


3、V-Ray基础渲染

这些场景很大程度上需要自然采光，因为这样才能表现出材质的特性。对于厨房视角，我还添加了一些室内灯具，来强调图像焦点。上图左边的一小部分并没有渲染出来，而右边的部分我则进行了一些小调整。

3. V-Ray Base Renderings
The scenes are largely lit by the sun to highlight the fact that even though the project is recessed into the ground, lots of natural light still gets in. For the kitchen view (seen below) I did add some additional interior lights to create some strong focal points in that view. Above, the image on the left is straight out of V-Ray while the image on the right shows some quick level adjustments I did before starting the Photoshop work.


4、Photoshop

在PS中，我先添加了植物，因为这能帮助之后人物的制作，我比较关注植物的光面与投影面，这样才能够突出整个区域。每个场景中都有一些人物，而在这个图像中，我把一个人放在一边，从而强调整个空间感受。

I started with the vegetation in Photoshop because I figured this might help inform what I do with the entourage. I focused on strong highlights and shadow with the vegetation to help dramatize these areas and draw attention as these are key features to the design. The entourage was limited to just a few people in each scene. In this case, I placed just one person off to the side and relatively small in the composition to help play up the grandness of the space.


5、最后调整

最后，我仍然保留了室内空间的色彩饱和度。我比较喜欢抹灰和木材的暖色系，因此我强调了这些区域。另外，我还通过Topaz Filters来强调细部。

5. Final Adjustments
Finally, I didn’t want to lose out on the vibrancy and strong colors that many of the other images of this project have, so I increased the color saturation of these interiors quite a bit. I especially wanted the warm tones of the plaster and wood to pop, so I increased those areas even more. Also, the detail was intensified by running some Topaz Filters at the very end.