来自专筑编辑刘庆新的报道。波士顿长码头透视图的设计正在进行中。第一张分析图尤为重要，因为它描述出了整个设计和水与城市的关系。分析图中，我早就想有一幅能体现出清晨雾景的图，看来，这个项目给了我一个很好的尝试机会。我发现制作这种效果的图最重要的一点就是将整体色彩的饱和度控制在最低值。在过去的分析图中，我倾向于通过将许多颜色叠加起来来得到我需要的效果颜色。在这张分析图中，我会不断返回，将图层饱和度减小，创造出清晨的氛围。

因为一些原因，这张图花费了我更长的时间。制作过程中，我还设计并建立了3D模型。通常，下班后我花几个小时来建立模型。在周五的设计中，正好到了关键点，我开始认真起来，还做了一些设计方案，并一直坚持到完成最后一步。好在这些方案用在设计中后，我就会很快地搞定模型，得到我所需要的东西，接下来开始我的渲染。

下面是我一些对Sketchup模型的截屏。

The Boston Long Wharf perspective illustrations are underway. This first illustration is one of the more important ones because it is describing the entire design and its relationship to the water and the city. An early morning fog scene has been on my to-do-list for a while and this view/project seemed like a perfect opportunity to give it a try. One of the toughest things I found working on an illustration like this was keeping the overall color saturation to a minimum. I have a tendency to amp up the color in past illustrations through lots of color overlays. With this image, I constantly was going back and desaturating layers to maintain that early morning mood.
This illustration took me a little longer than the others for a few reasons. I have been designing and building the 3D model as I go. Typically, I spend a few hours when I can after work during the week on the modeling. It got to the point on Friday where I had to buckle down and make some design decisions and stick with them for the final illustrations. The good thing was once these decisions were made, I was able to quickly brute force model and get things where I needed them to start setting up the rendering.
I have attached some of the screen shots of the Sketchup model below.

花费我大量时间的另一件事就是为渲染建立档案。熟知我的人都知道我喜欢把大部分时间用在Photoshop上。但是，在这个问题上，我决定花更多时间准备纹理贴图和灯光。这里，我用在这个图里很少用到的V-Ray代替了Kerkythea。下面是一些V-Ray输出的未处理的渲染图截屏。

The other thing that absorbed some of my time was setting up the file to render. Anyone that follows this site knows I prefer to spend most of my time in Photoshop. However, with this shot, I decided to invest a little more time preparing the textures and lighting. V-Ray was used for this image instead of Kerkythea, a rare occurrence on this blog. Below are some screen shots of the raw rendering output from V-Ray.

我让大部分的周边建筑保持白模的状态。波士顿这片区域在网上就很显眼，我知道我可以在渲染底图上叠加背景建筑的图片。因为这个原因，我将周边建筑渲染成灰色，这样可以允许我在图上进行叠加操作，但是，仍会保留渲染底图的亮度和阴影。

I kept most of the surrounding context largely untextured. This area of Boston is highly photographed online and I knew I would be overlaying images of the background buildings on top of the base rendering. For that reason, I rendered the context gray allowing me to overlay the photography but still maintain the light and shadow of the base rendering.

你可能已经注意到了我的题目上写的是“第一部分”。我计划在七月四日尽力将剩余部分完成，介绍 Photoshop 中的后期步骤。制作这种风格的分析图很有趣，我想这个操作步骤应该看上去也很有趣。

You may have noticed the title says, “Part 1″. I plan to salvage what I can of this 4th of July weekend and pick back up in the next post with an in-depth break down of the post processing in Photoshop. These types of illustrations are fun to work on and I think the workflow would be interesting to see.

模型制作软件：Sketchup
渲染软件：V-Ray
后期加工处理：Photoshop
最终输出尺寸：4500 px x 2520 px

Modeler: Sketchup
Renderer: V-Ray
Post Processing: Photoshop
Final Output Size: 4500 px x 2520 px

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