Cliff Landscape Study

由专筑网吴燕萍，刘庆新编译

这个设计的很大一部分是怎样使景观（地形）从结构的下部和周围产生下滑效果。因为我了解景观与建筑关系，所以我把几张图结合在一起。可以看出，这张图片的成功很大程度上依赖于纹理。这张图中，建筑是辅助角色，植被才是焦点，这就是为什么草会被渲染的如此饱和，建筑却如此透明的原因。下面，我将快速分布讲解这些图像是如何创建的。

A big part of this design is how the landscape slips under and around the structure. As a way for me to understand the relationship between the landscape and architecture, I put together a few diagrams. The success of this image relies heavily on the textures. The vegetation is the focus with the architecture playing a subsidiary role, hence why the grasses are so saturated and the architecture transparent. Below, I put together a quick breakdown of how the images were created.

1、 白模/1. Clay Model

开始，我用V-Ray简单的渲染我的sketchup模型，作为我添加纹理和照明的基础。这个渲染生成只花费了几分钟的时间，但却产生了很好的光影效果。

I am starting out with a simple V-Ray clay rendering of my Sketchup model to act as a base to which I will add texture and lighting. This rendering took minutes to generate, but gives me good light and shadows to work with.

2、 涂抹边缘/2. Smudge the Edges

因为这个图像将会被植被覆盖，我在Photoshop中使用涂抹工具把它的边缘模糊化,使其看上去就像是被风化一般。

Since this image will be covered with vegetation, I used the smudge tool in Photoshop to rough up the edges and give the geometry a more weathered look.

3、 添加纹理/3. Add Texture

我编制了大量的纹理，用于我将会在这个图像中所能遇到的不同的情况。这包括野草在直角和侧角、悬崖壁及边缘、岩石和杂草等情况。一旦我找到所有我需要的纹理,我慢慢地将它们贴到我的模型上。通过设置纹理图层的混合模式的“叠加”，就能将颜色和纹理与白模合并在一起。

I compiled a large amount of textures of all of the different conditions that I would run into in this image. This includes several wild grasses at both a straight-on angle and side angle, the cliff wall, cliff edge, rock and grass mixture, etc. Once I had all of my textures, I slowly pieced them into the clay model.  By setting the texture layers to “Multiply” in the layer blend mode dropdown, I was able to merge the colors and textures with the shading of the clay model base.

4、建筑白模/4. Architecture Clay Model

该渲染图的一个重要部分是建筑与景观的关系。因此，我需要将建筑覆盖在图中。为此，我在3D模型中生成了带有建筑图层的第二个白模。然后在Photoshop中盖住背景并融合建筑与景观的影像。

An important part of the diagrams is the relationship of the architecture to the landscape. I therefore needed to overlay the architecture into the illustration. To do this, I generated a second clay model rendering with the architecture layer turned on in the 3D model. In Photoshop, I then masked out the background and merged the shadows of the architecture with the landscape.

5、淡化和轮廓/5. Dilute and Outline

建筑白模似乎过于大胆而突兀，所以我降低了透明度，然后给它一个相对明显的轮廓，这样可以看上去更图像化，可以显露一些景观纹理。

The architecture clay model seemed too bold and distracting, so I lowered the opacity and then gave it a thick outline so that it read more diagrammatic and allow some of the landscape texturing to show through.

6、最终渲染图/6.Final Image

设计仍在不断变化，但由于我已经设置了Photoshop文件，我可以根据这些图的发展形式简单的更新。这代表我只需花费我的大部分时间在网上寻找纹理。最难的是找到一个足够高的分辨率图像。一旦我有了纹理，图移动速度会比较快。好处是我现在有一个好的图库可以让我用其余的图完成这个项目。

The design is still in flux, but since I have the Photoshop files already setup, I can simply update these diagrams as the form develops. It seemed that most of my time was spent searching for the textures online. The toughest part is finding images at a high enough resolution. Once I had the textures, the illustration moved relatively fast. The good thing is that I now have a good library of images going that I can use for the rest of my illustrations for this project.

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