Sketches

我在年轻的时候曾画了很多素描，但是在大学的时候都中断了。不知道为什么，我经常尝试在 Ps里创造出手绘图。我发现我的工作流程和实际手工绘制一张画的过程类似。直到今天，当我在空闲时间创建一个别墅的渲染图的时候，我才意识到这个想法。

当手绘一张画的时候，我会开始先用线条起稿。在 Ps里，我也会从模型导出的线框图开始。

I used to draw a lot when I was younger and all but stopped sometime in college. I’m not sure why, but I always find myself trying to recreate hand drawings through Photoshop. I’ve noticed that the workflow that I use to recreate drawings follows a similar procedure as that of actually hand rendering an image. This idea didn’t really hit me until today when I was creating some illustrations of a villa that I have been designing in my spare time.
When manually hand drawing an illustration, I would start by laying out the line work of the building. In Photoshop, I also start with an exported line drawing of my model as the base.

接下来，我会计算出阴影，并把它们放入图中大概的位置。在 Ps里，我也经常会导出 SketchUp 模型的阴影作为一个单独的图层。作为手绘的画，清晰的阴影边线会表现出明确的面积，并有助于在视觉上解释建筑的几何形状。

Next, I would calculate the shadows and rough those into the drawing. In Photoshop, I also always export the shadows of the Sketchup model as its own layer. As with hand drawings, strong shadow lines give dimension to the image and help to visually explain the geometry of the design.

随着线框和阴影设置在合适位置，我开始在透视图里进行轻微的遮光处理。这经常会用 5 或是 6 个铅笔石墨的图层，直到达到我满意的效果为止。这个步骤是在 Ps里通过叠加一个基础的 Kerkythea 渲染来模仿手绘的步骤。类似于分层的铅笔石墨图层，我将Kerkythea 图片颜色变浅，并使用“加深减淡”工具建立了阴影和影子，给它一个更像手绘的外观。

With the linework and shadows set in place, I would then begin lightly shading in the perspective. It always took 5 or 6 passes of layering on graphite until the drawing was where I wanted it. This step is emulated in Photoshop by overlaying a basic clay rendering from Kerkythea. Similar to layering on graphite, I lightened the Kerkythea image, and built up the shade and shadow using the “Burn & Dodge” tools to give it a more hand rendered appearance.

手绘图的最后一步是增加包括背景的纹理和配景。这通常也是我在Ps处理电脑渲染图的最后一步。我将这个步骤留到最后，主要是因为我想从建筑的体块中找到感觉，知道大概添加多少背景和配景。我不希望它们在太多方面互相影响。

The last step of hand drawings consisted of adding in the background shading and landscape. This is typically the last step for me in Photoshop with digital illustrations too. I leave this step to the end mainly because I let the strength of the rendered building inform me on how much landscape and background shading is needed. I don’t want the two to compete too much hierarchically.

上图中也有很多细节的东西没有立刻体现出来，我花了一些时间将阴影边缘进行粗糙化处理，添加了污迹，加深和减淡周期性的规律，使它们不那么顺畅，并增加断断续续的线条。我也扫描了我的一张旧图纸，得到了一个手绘的纹理并把它叠加上去。所有提及到的和完成的内容，每张图耗时约 2 小时。手工绘制这些会用掉我整个周末的时间。

There are also a lot of subtle things going on in the above image that aren’t immediately obvious. I spent some time roughing up the harsh shadow edges, periodically adding smudges, burning and dodging gradients so that they aren’t so smooth, and adding imperfections to the line work. I also scanned one of my old drawings to get a sketchy texture to add as an overlay. All said and done, each of these images took about 2 hours. Hand drawing these would have taken me the entire weekend.


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