来自专筑编辑刘庆新，范偲慧的报道。在制作建筑表现图时总有一种想法冲进脑海：怎样在图中添加更多人情味？答案是可以通过Photoshop里的纹理来完成。上周我花时间分析一张个人最新项目的鸟瞰图。在这项特殊的工作中，我想尝试给这张图的每个表面都加上强烈的纹理效果，结果会怎样呢？图中许多区域按我平时制作其他表现图的习惯会直接跳过，不添加纹理，但这次不同。结果这张不完美的图片展现出了强烈年代感。

A thought that is often running through my head when working on architectural illustrations is how I can bring more of a human touch to the image. The answer is almost always through texturing in Photoshop. I have spent the last week illustrating an aerial perspective for my latest personal project. For this particular work, I wanted to hit almost every surface of the image with a strong texture to see what would happen. There were many areas that I would normally skip over in other illustrations but didn’t in this one. The result is an image with imperfections that shows age.


Base Rendering/基础渲染

在3D环境中，纹理很重要，但是很难避免纹理的平铺。我的基础渲染常常是看上去是平整和“完美”的，也就是说纹理没有瑕疵。这是因为对于凹凸贴图和纹理属性我只能做这么多。一定程度上，在Photoshop中给3D环境添加纹理能快得多。做了这么多年表现图，我开始渐渐感觉到瓶颈，特别是当我将3D模型转化为2D图片做后期处理的时候。许多情况下，我需要3D模型中适合的纹理和Photoshop中适合的纹理结合起来，以获得更好的效果。

Texturing in the 3D environment is important but it can be difficult to avoid “tiling” of textures. Often, my base renderings come out looking flat and “perfect” meaning the texture has no flaws. This is because there is only so much I can do with bump maps and texture attributes. At a certain point, time spent texturing in the 3D environment could be done much faster in Photoshop. After producing so many illustrations over the years, I am starting to get a sense of what that threshold is and when I need to get out of 3D and into 2D post processing. In many cases, I need both a good texture in the 3D model combined with a good texture in Photoshop to get the right look.


Texture Zones/纹理区

这张表现图中，我关注的有四个区域：配景建筑的屋顶，我设计区域的纹理，街道和人行道/景观。这四块区域构成了一个连锁关系，如果一个区原封不动，电脑的塑料感觉就显现出来，我们需要的效果就没有了。

For this illustration, there were four areas that I focused on: the roofs of the surrounding context, the textures of my design, the streets, and the sidewalks/landscape. All four of these areas feed off of one another and if one is left untouched, then the computer’s plastic feel is revealed and the effect is lost.

我在Photoshop里将几种沥青路面的贴图纹理运用到表现图上。贴图中有适量的磨损和缺陷，可被运用于除了街道以外的其他区域。本例中，我将沥青纹理用到了建筑屋顶上，并降低透明度，还将其用到由混凝土和地砖铺砌的人行道上。

I used several images of asphalt roads to apply textures to my illustration in Photoshop. These have the right amount of grunge and imperfection and can be used in areas other than the streets. In this case, I used the asphalt textures for the roofs of the buildings and lowered the opacity and applied them to the concrete and brick sidewalks.


The Comparison/对比

前后对比形象地显示了在Photoshop中纹理变形的强大功效。我发现人们在制作表现图时经常忽略路和屋顶等这些元素，而我意识到给这些元素赋予纹理恰恰能增加人情味。建筑表现图中正因为有了这些小瑕疵才使它看起来更真实，不再像是电脑生成的图。

A side by side comparison reveals how powerful a little bit of texturing in Photoshop can be. Its elements like roads and roof tops that I often see people ignoring in their illustrations that I have come to realize make a big difference in giving an image that human touch. Building in these little imperfections start to trick the eye into thinking this is not a computer generated image.


The Final Image/最终图像

在最终图象中，我用橙色图层将表现图的色调转为暖色。像我许多表现图一样，我通过使用plugins插件，如像Topaz Labs Adjust，突出细节并调整清晰度。关于俯瞰图，通常情况下，我是关掉透视，但是，这个项目中我保留了并用Sketchup将视野扩大，使图中建筑看起来更高。保留是因为它能将眼球吸引到图的中心，使设计区域更受关注。

In this final image, I moved the colors to the warm side by using orange color overlays. As with a lot of my illustrations, I bumped up the detail and sharpness using plugins like Topaz Labs Adjust. For aerials, I typically turn off the perspective but in this case I left it on and increased the field of view in Sketchup to make the buildings feel taller. The perspective works here because it draws the eye to the center of the image and puts more focus on the design.

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