我终于能够为悬崖别墅设计建立一些内部场景。我决定将这些图设置成黑白色，去关联前面博文里制作的那些黑白外部场景图。但是去色处理后，内部场景中的光亮和阴影会凸显出来。空间中主导的水泥元素也会变得更显著。

下图是制作室内图片的快速分解过程

I was finally able to setup some interior scenes for the cliff retreat design. I decided to go black and white with these images to relate back to the black and white exterior images generated a few posts ago. However, the desaturated colors will also help play up the light and shadow of the interior views and highlight the concrete textures that dominate the space.
Below is a quick break down of one of the interior images


1. Sketchup Model/SU建模

上图是一张SU模型隐藏线条视图。3D模型还相对简单，有一个像是梁板式的Kahn来帮助分割巨大的水泥天花板。所有的家具都能在SU的3D Warehouse中找到。

Above is a hidden line view of the Sketchup model. The 3d model remained relatively simple with a Kahn like waffle slab to help break up the large concrete ceiling plane. All furniture was found in Sketchup 3D Warehouse.

上图是带有一些材质的SU模型。我的许多时间都花在尝试创建水泥纹理，并试图建立合适数量的凹凸和反射。我喜欢用PS在外部场景中创建纹理，但是在室内场景手工创建纹理是很难的。室内场景经常有太多几何形状和细节需要遮罩，所以就有太多的反射面需要处理。

Above is the Sketchup model with materials turned on. A lot of my time was spent experimenting with concrete textures and honing in on the right amount of bump and reflection. While I like to photoshop textures on exterior views like these images, it is too difficult to manually texture in interior scenes. Interior views often have too much geometry and detail to mask around and too many reflective surfaces to deal with.


2. V-Ray Base Rendering/V-Ray基础渲染

上图展示的是V-Ray基础渲染。为了匹配水泥纹理，Saarinen Tulip家具我采用亮白树脂纹理、阿科落地灯和巴塞罗那椅采用铬合金材质、左边的木制品采用简单的木材质。

Above shows the V-Ray base rendering. Along with the concrete texture, I also setup a gloss white acrylic for the Saarinen Tulip furniture, chrome materials for the Arco floor lamp and Barcelona chairs, and a simple wood material for the millwork on the left.


3. Photoshop

在PS中，我怕开始设置遮罩，将颜色褪去，将所有物品的颜色设置为简单的黑白色。

Once in Photoshop, I started setting up masks and desaturated the color taking everything to a simple black and white image.


4. Adjust the Levels/调整色阶

看起来这张图缺少一些对比，所以我调整了色阶，黑色加深，凸显高亮区。我也添加了一些小插图（图边缘周围的阴影）来帮助将注意力转移到图的中心区域。最后，我给深度增加了一点稍微的朦胧感，也点亮了左边墙壁，来帮助清晰地界定餐厅到后面的座位区墙之间墙的界限。

The image is lacking some contrast so I adjusted the levels to deepen the darks and punch upthe highlights. I also added some vignetting (shadow around the edges of the image) to help draw the eye to the center of the composition. Finally, I added a slight haze to give some depth as well as lit up the left wall to help articulate the shift in wall plane from the dining room to seating area in the back.


5. Room Accents

室外露台增加了一些植被，这样从视觉上能更好地区分室内和室外。其他元素如餐厅吊灯、天花板聚光灯和壁画是在PS中添加的，而没有建立3D模型，因为我发现这里更容易更快进行重复操作和尝试我们的想法，而不会等着渲染后不合适再给剔除。一旦做褪色处理，壁画尤其改变不少，这就需要一些尝试来找到正确的色调。最后，一些人物画被放到后面，避免太吸引注意力，这样仍然给空间增加了一些尺度感和生机。

Some vegetation was added to the outdoor terrace to better visually separate interior from exterior. Other elements like the dining room pendant light, ceiling spot lights,  and paintings were added in Photoshop instead of modeled in 3d because I find it easier and faster to iterate and test out ideas in this environment rather than waiting for test renderings to kick out. The paintings especially changed quite a bit once desaturated, requiring a lot of experimenting to find the right tones. Finally, some people were placed in the back to avoid drawing too much attention while still adding scale and activity to the space.


Final Images/最终渲染图

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