来自专筑编辑陈欣涛，许航的报道。这缘于我最早做的几个教程之一，它介绍了一套关于如何仅仅通过ps来创造一个夜景的工作流程。那个教程使用的仅仅是一个su导出的非常简单的基础图面。那个工作流程非常地容易上手，而且，如果你对于在诸如Kerkythea、vray等外部渲染引擎下调整夜景和灯光的参数非常茫然，这个教程还非常地实用。

值得一提的是，那套工作流对于更加复杂和精细的场景同样适用，我尝试用这个最新的图面来证明这点。

因为我之前一直以致力于先前的文章，所以，我知道，一个白天的场景能够非常简单地转变为一幅夜景，同时获得更加有吸引力的图面。

每个人都喜欢一幅好的夜景图面，但是那些夜景的制作也是最让人望而生畏的。通过接下来的步骤，我将带领你们如何将之前选取的一副充分渲染的白天的场景图面，仅仅通过ps 的工作流程处理成一幅夜景！

One of the very first tutorials I created for this site described a workflow that generated a night scene only using Photoshop. That tutorial used a very simple base image exported right out of Sketchup. The workflow is easy to implement and is especially useful if you are not comfortable setting up night scenes and lighting in an external render engine such as Kerkythea or V-Ray. However, that same workflow is equally useful with more complex and developed scenes and this latest post is my attempt prove it. As I was working on the previous post, I realized the daytime scene could easily be shifted into a night scene to generate a more compelling image. Everybody likes a good night illustration but they also tend to be the most intimidating. The steps below will walk through how I took the fully rendered daytime scene from the previous post and turned it into a night scene using a easy Photoshop workflow.

1. Turn Off Layers in the Original Illustration（关闭原始文件的一些图层）

第一步是在原先的图面中去除一些与夜景不相关的图层。这些图层包括HDR效果图层，暖色调滤镜，和雾化的效果。我同时也会把车辆和行人的图层移除。

The first step is to get rid of some layers in the original daytime scene that don’t belong in the night scene. These layers include the HDR effects, warm color overlays, and fog. I also turned off the cars and people layers.

2. Remove Sharp Shadows（移除锐利的阴影）

可能最难的一步是去除太阳光所导致的锐利的阴影。在大多数情况下，我使用“Clone Stamp Tool “（仿制图章工具）来去除掉这些阴影。树的阴影在单独的图层上，所以我可以快速地去除。这一步至关重要，因为留下这些尖锐的阴影将使我们的观众感到困惑，虽然我们在试图告诉他们这是一张夜景，太阳也已经下山了，但拥有清晰边界的影子毫无疑问地展现了白天的外观状态。

Probably one of the more difficult steps is editing out all of the sharp shadows created from the sun. In most situations, I used the “Clone Stamp Tool” to edit these out. The tree shadows were on their own layer so I could simply turn those off. This is an important step because leaving these sharp shadows in the scene will confuse the viewer and give the appearance that the sun is up even though we are trying to say that this is a night scene and the sun has already gone down.

3. Darken the Image（暗化图像）

这是工作流中至关重要的一步，这个图像需要变得昏暗，而一个简单的途径就是新建一个图层将其填充蓝色，并将图层的混合模式调成“multiply”（正片叠底）。这一步完成后，我会回到蓝色图层，擦去室内和天空部分的蓝色，使其显露出来。这一系列快速的操作，建立了一个非常好的夜景的底图。

This is the heart of the workflow. The image needs to get darker and an easy way to do this is by filling the canvas with blue paint and setting the layer blend mode to “Multiply”. Once this is done, I then go back and mask out part of the blue so that the sky and interiors show through. This quickly sets up a decent looking night scene base image.

4. New Sky（新天空）

将白天调到晚上，天空是至关重要的。你应该注意到，晚上的天空并不会比白天的天空要暗。唯一的不同是云要暗一些。虽然用一个更加暗的天空是无可厚非的，但我还是希望获得较亮的天空和较暗的建筑的对比。我同样有降低路面反射的想法，所以一个亮一些的天空将会帮助我实现这种戏剧化的效果。

Sky is important in shifting the mood from day to night. You will notice the night sky isn’t much darker than the day time sky. The only difference is that the clouds darken a little. It’s fine to go with a darker sky but I like the contrast of the light sky with the dark buildings. I also have plans to drop in reflections on the road and a brighter sky will help increase the drama with this effect.

5. Lighting（照明）

时间主要是花费在在场景中添加灯光。我的注意力集中在建筑底层的高光部分和画面中部巨大幕墙的光影效果控制。我同样在巨大的金属栅格上添加强调的灯光，并且给周边场地上的建筑的窗户点亮灯光。我将在之后制作一个教程详细介绍如何照亮窗户。

Time needed to be spent manually painting in light throughout the scene. My focus is on punching up highlights underneath the building as well as giving the appearance of light in the large curtain wall in the center of the image. I also added accent lights on the large metal fins and painted the windows in the surrounding context buildings. I put together a tutorial a while back detailing how to light up windows, seenHERE.

6. Wet Ground（潮湿的地面）

面对夜景，我比较希望能够将它改成雨后的场景。这个操作比较简单，但是效果却是非常戏剧化的！它能够让图面变得更加饱满，更好地吸引读者。我之后会打包一个视频教程，来展示雨后的图景是如何通过我极小的技术操作来生成的。如果我有时间的话，我会单独再做一个小教程来介绍这种方案。

A move I like to do with night scenes is to give the appearance that it just rained. The workflow is simple and the effect is very dramatic. It also adds another layer of complexity to the illustration that better engages the viewer.  I put together a video tutorial a while back seen HERE explaining how this can be done though my technique has since changed a little. I may break this out into its own mini tutorial later if I have time.

7. People（人物）

为了清楚地说明刚刚雨后的概念，我植入了一群拿着伞或者雨披的人。我并不希望这些人出现在前景，这样太抢眼了，相反，希望他们像影子一样出现。因此，我减小了它们的饱和度和明度。还将所有的伞都编辑成黑色。这一系列的操作保证了画面的重点在建筑的同时，提升了街道的活力。

To help bring home the idea that it just rained, I inserted a bunch of people with umbrellas and rain gear. I didn’t want the people in the foreground to be too distracting, but instead read more as silhouettes. I therefore desaturated and darkened them, and edited the umbrellas to all be black. This put the emphasis back on the architecture but still activates the street life.

8. Color Editing（色调编辑）

来到最后一步操作，我用Topaz滤镜来做一些颜色的编辑。我的目标是强调出更多的细节和对比，略微地使得图面变暗，并且将整个图面的色调趋向相近的色彩。

For the last step, I did some color editing in Topaz.  My goal here was to pull out some more detail and contrast, darken the image a little more, and shift the entire image to a similar range of colors.

你如你还不过瘾，可以看我的No-Render Night Illustration来获得更加综合的对于如何将白天的渲染图变成夜景的进步，同时更好地了解工作中的基本的方法。

If you haven’t already, check out my “No-Render Night Illustration” for a more comprehensive breakdown of turning a daytime illustration into a night scene and to get a better sense of the principles at work .

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