Cliff Retreat Moments: Part 1

悬崖上的别墅这个项目设计起来十分有趣，我自己也在设计尺度的宏观和微观之间反复琢磨。从宏观整体的尺度来看，模型细节的缺失可能会使关于设计的某些想法很难表达出来。因此我希望通过Ps来快速添加一些缺少的细节信息，并帮助我研究这些不同的情况，以此来探寻文理、尺度和光线之间的关系。下图是其中一张图的简要制作步骤。

The cliff retreat has been a fun project to design and I find myself constantly jumping back and forth between the macro and micro scales of the design. For the micro scale, the lack of detail in the model can make it difficult to visualize some of the design ideas. Therefore, I looked to Photoshop to quickly add some missing information and to help me study these different moments by exploring  textures, scale and light. Below is a quick break down of one of the images.

View of Sketchup Model/SU模型图

V-Ray Base Rendering/V-Ray基础渲染

V-Ray Base Rendering/V-Ray基础渲染

这个3D渲染模型图片仍然缺失材质和细节，因此我必须努力去找一些好的材质叠加在我的裸模上。从许多角度来看，这个模型的形状较为简单，所以用Ps处理所耗时间比其他模型相比较少。每幅图后期处理所需要的时间平均在两个小时左右。其实秘诀就是有条理的材质ID通道来帮助我选择区域。我之前并没有在这个网站上谈论过多少关于Material ID，但它对于PS的清晰、快速处理的过程十分重要。在这个Part 1教程过后我会跟着发布一个Part 2 教程来详细讲解我是如何创建材质ID通道并利用、把它结合到我的工作之中。

The 3D model is still lacking materials and detail, so I had to do my due diligence to find good textures to overlay on top of the clay model. The geometry itself is simple in many of the views, so the Photoshop post processing took little time compared to other images. I probably averaged two hours of post processing per image. The secret was having a good Material ID channel to help me make selections. Material ID is something that I haven’t talked about much on this site, but is crucial for fast and clean Photoshop post processing. I will follow up this post with a part 2 tutorial describing how I create and integrate the Material ID channel into my workflow.

我把PS中相同的材质图层建组，然后再建立选区蒙版，而不是对每个图层建立蒙版，这样会使PS的图层文件简洁、易于操作，特别是后面还要对设计PS效果调整编辑。这个理念在Part 2会有更加详细深入的介绍。

I grouped the layers in Photoshop by texture and then masked off the groups instead of each individual texture. This made for clean photoshop files and will allow for simple edits if the design changes later. This concept will also be covered more in depth in part 2 of this post.

关于最后成品图像，我将其转换成为黑白图片来弱化右侧颜色浓郁的绿植，而把焦点重新转换到材质和光线上。没有什么更好更简单的办法比直接降低饱和度，来使图片转换为黑白图像了。同时，我通过调整图片的叠合方式为叠加增强了对比度。最后，我还通过调用Topaz 滤镜来锐化图片并增强对比度。

For the final image, I converted to black and white to downplay the strong green vegetation and shift focus back to the textures and light. There was a little more to the black and white conversion than just desaturating the image. I increased the contrast by duplicating the image and setting the layer blend mode to “Overlay”. I also ran some Topaz filters to sharpen the image and enhance the details.

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