最近的几个项目都是持续关注对于场地现有状况的图解。就在最近的一个项目中，我将我的注意力转移对新设计的研究中去。整体的概念和基本的Skechup模型都已经建好了，但是我现在却非常着迷于对于材质的探索。在具体地考虑准确的选材和配色前，我一直在努力保持事物抽象的特点。

上图的黑白图就是一种方法，它帮助我抽象地思考而不至于迷失在细节之中！

The last few posts have been focused on diagramming the existing conditions of the site. In this latest post, I have shifted to studies for the new design. The overall concept and form of the Sketchup model is established, but now I am interested in exploring texture. I trid to keep things abstract before getting too specific with thoughts of actual materiality and color. The above black and white approach was one way for me to keep thinking conceptually without losing myself in the details.

尽管这个图面看上去已经完成了，但是这一套工作方法是非常宽松而且探究性的。许多的重复和想法都被测试。通过线宽、阴影到填充等等的不断改变，我们定义了不同的层级和图面材质的品质。

由此开始，我期望我的图面能随着方案的细化以及形式和材料的确定而进一步改变。在ps中创作这样的一副表现图就像在大自然里面写生。把3d模型放在一边然后细细地研究创意。稍后，我还会介绍颜色作为物质性的概念如何变得更加具体。下面就是一个快速的教程来讲述这种图面的制作。

除了底图的初试线的工作和阴影是我从su模型里面导出的，剩下的一切都是在ps中完成的。多半的情况，我使用Brush Tool（笔刷工具）来制作大部分的要素。如果需要，我甚至还会给这些元素添加阴影效果和笔触。

As much as this image looks “finished”, the workflow was very much a loose and explorative process. Many iterations and ideas were tested. Changes in line weights, shadows, and hatches helped define hierarchy and texture qualities.
From here, I expect the illustration to continue to evolve as the project is refined and more decisions on form and material are made. The process of creating an image like this in Photoshop is “sketchy” in nature which lends itself well to exploring ideas along side 3D modeling. Later on down the road, I may begin introducing color as ideas of materiality become more concrete.
Below is a quick breakdown of how the image was created. Everything was made in Photoshop except for the initial line work and shadows which were exported from my Sketchup model. For the most part, I used the Brush Tool to create most of the elements. I also applied drop shadows and strokes to the elements when needed.

1. Sketchup Line Work 线图工作

2. 从Sketchup中导出阴影
我通过控制色阶，将阴影从灰色调成黑色。

2. Shadows Exported from Sketchup
I adjusted the levels to take the shadows from grey to black.

3. 水
我小心地降低水部分的明度来更好地说明水与陆地的关系。

3. Water Poche
I darkened the water slightly to better clarify the relationship of water to land.

4. 剖短线和控制线
通过添加浓重的剖短线来强调出设计中重要的元素。

4. Profile Lines and Guide Lines
Thick profile lines were added to punch up important elements of the design.

5. 抽象的船
简单的矩形带上一些阴影就可以用来抽象地表达船体。这些方块被多次复制来表示船的移动。

5. Abstract Boats
Simple rectangles with shadows were used to represent the boats in an abstract manner. These were then copied many times to imply movement.

6. 粗虚线
这些较粗的虚线概括地表达了现有场地的众多元素。这些线的密度和方位是由地形的改变（topographical changes）和潜在的行人交通（potential pedestrian traffic）所决定的。

6. Thick Dashed Line Work
The thick dashed lines represent an abstraction of several elements of the existing site. Density and location were determined by topographical changes and potential pedestrian traffic.

7. 细虚线
第二种层级的较细的虚线也会被添加。这些虚线整体上都比之前粗虚线要弱一些，它们可以帮助表现不同物体之间材质的区分。

7. Thin Dashed Line Work
A second layer of thinner dashed lines were added. These are hierarchally weaker than the thick dashed lines and could represent a change in material among other things.

8. Poche
最后一层阴影添加到突出绿色空间的潜在位置。

8. Poche
A final layer of shading was added to highlight potential locations of green space.

尽管这个工作流已经被分解成了系统化的解说，但是制作这样一幅图面的真实过程并没有那么地清晰。正如以上所提到的，将不同的元素通过加法和减法的方式，慢慢地组合到一起是一个需要不断反复的过程。有许多的复制，黏贴，透明度的调整和缩放要去做。在这里，我较少地关注细节的操作，而更多地关注一个轻松的，具有实验性质的过程。

Though the workflow has been broken down into a very systematic explanation, the actual process of creating this image was not as clear cut. As mentioned above, it was a very iterative process where all of the element were slowly built up together through additive and subtraction means. There was a lot of copying, pasting, transforming, and scaling. Less focus was placed on craft and more on a relaxed and experimental process.

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