Philly Bridge: 2 for 1 Break Down/Alex Hogrefe

由专筑网王子铭，韩平编译

以下是我选取的一些水平视点的透视图，让人们从场地西侧了解步行天桥的设计。我对表现形式进行了一些实质性的改变，并且想研究行人接近下沉公路时的感受。通过Sketchup的简单图形界面，很难获得戏剧性的场景及情感的表达。项目初期，这些透视图可以帮助我推敲方案的尺度、材料、与环境的关系以及许多其他细微差别。

我制作了两张效果图，下面我会将它们的制作过程分部讲解。虽然分解步骤本身很简洁，但可以明确的表达出关键点——图像中的细节由在Photoshop中添加。每个图像似乎都有较高的建模难度，但我通常对制作这些图纸不会投入太多的时间，在这过程中，我更倾向于丰富周边的环境模型，最终细节会是画面丰富，为整体图面效果锦上添花。

Below are some eye level perspectives that I created to get a sense of the pedestrian bridge design from the west side of the site. I had made some substantial changes to the form and wanted to study what the experience was like as you approach it both as a pedestrian and from the sunken highway.  It’s hard to get a sense of drama and emotion through the simple graphic interface of Sketchup. These perspective illustrations early on in the project help me to see if the scale, material, contextual relationships and many other nuances are succeeding or failing.
Since I created two illustrations, I figured I would break them down side by side. While the break down itself is brief, I still think they do a good job of showing the critical point where I stopped adding detail in 3D and began adding detail in Photoshop. Every image seems to have different modeling thresholds. I usually have limited time for these side projects so every minute counts. In the case of these illustrations, I opted to model a little more than I normally do knowing that other views will benefit later on from this extra detail.
   

1. 模型

如上所述，我花费了更多的时间来构建周边环境，即使我打算在Photoshop中添加纹理贴图，但仍然用大量时间做出周边建筑、道路环境、路灯、立交桥等辅助表现的模型，因为我想确保图像中所有反射和阴影一致，而这些元素在Photoshop中，通常无法准确的表达相同的日照，保持协调的光影环境。

1. Sketchup Model  Sketchup
Like I said above, I spent more time than usual building out the context. Even though I planned on adding lots of texture via Photoshop, I still spent time modeling context buildings, curb cuts, correct street lights, bridge overpasses, etc. I wanted to make sure reflections and shadows were consistent in all parts of the images. Photoshop in these elements often means you are stuck with the lighting and sun settings of the image that you are cloning from.


2.V-Ray渲染

在渲染中，我关注的是材质贴图的纹理。更具体地说，贴图在渲染后表现出混凝土、桥梁金属板以其他材质的微妙反射，对图面的整体效果有很大影响。同样，我也可以将他们关闭，在Photoshop中一次性赋予贴图，并附加纹理。

2. V-Ray Rendering
An aspect that I focused on in the base renderings were the textures. More specifically, I played up the subtle reflections in the concrete, metal paneling of the bridge, and other textures throughout the model. I knew that if I could get these close, then I could really dial them in once in Photoshop with additional texturing.


3. 早期颜色调整

在高速路视点的图像中，我调整了渲染的底色。当时我正一边吃晚饭，一边在制作图像，抬头忽然看到附近的建筑物上非常美丽而温暖的阳光，并且打动了我。而后我回到家中，开始调整图像的色调，想要重现那种效果。我通过将阴影推向更冷的蓝色调，并将高光赋予强烈的橙红色，从而实现了这一点。

3. Early Color Adjustments
For the highway shot, I ended up really shifting the colors of the base rendering. I had been out to dinner the night that I was working on these images and saw some really beautiful warm sun highlights on nearby buildings. I then came home and began playing with the tones of this image to see if I could recreate this effect. I achieved this by pushing the shadows to a cooler blue tone and colorizing the highlights with a strong orange/red tint.
     

4. 添加纹理

在3D模型中，总是难以创建的一些不完美的事物，所以在渲染后，我仍然依靠Photoshop来添加污渍来表达真实世界的缺陷，这在白天的道路、人行横道、混凝墙壁上等等是最为引人注目的元素。

4. Photoshop Textures  Photoshop
One thing that is always difficult to create in 3D is imperfection. So while I tried to get the 3D textures close, I still rely on Photoshop to add the grunge, dirt, and real world flaws. This is most noticeable in the daytime road, crosswalk paint, concrete barriers.


5. 凸显主体

在我的构思中，桥梁被充满活力的金属面板所包裹，一个玻璃结构在底部突出。当时我仍然在推敲玻璃的结构，所以在两张图中都稍有加强其表现效果。而后我在整体图像上覆盖了一层暖色调，同时利用V-Ray渲染的反射通道增强了金属板的反射效果。

5. Bridge Amplification
I envisioned the bridge having a vibrant metal panel and a glassy structure projecting out the bottom. I was still “designing” the glassy structure so I ended up Photoshopping quite a bit of that into both images. I then added some warm color overlays and punched up the reflections of the metallic paneling using the reflections channel from V-Ray.


6. 添加植物

在这个阶段，不仅仅是在添加树木、草地等配景元素，而且也要设计其形态及其位置，确保植物与场景的光照环境相匹配，从而在高速路视点的图像中，树木的高光将会被赋予非常暖的色调。

6. Vegetation
Trees, shrubs, and grass were introduced at this stage though I am still working out the design and location of certain elements. My focus here was to make sure the vegetation matched the lighting of the scene. This meant in the dusky highway view, shifting the tree highlights to very warm tones.


7. 添加人物、灯光和细节

轻微的细节在赋予图像情感及建构叙事场景方面具有很大的作用并且需要长时间的斟酌推敲。动态的人物、灯光及标识牌都被用来增添图像的兴趣点，吸引人们的视线去观察图像中的内容。

7. People, Lights, and Details
Little details go a long way in adding emotion to the images and building narrative. Entourage, lights, and signage were all used to add points of interest and encourage the viewers eye to keep moving around the illustration.


8. 整体调色

我没有像以前那样疯狂的调整色调，但我在这个步骤，我为白天场景的图像添加了一丝温暖，为黄昏场景的阴影增加更多的细节。我还画了一些雾霾，增加图像的景深。最后，在昏黄场景中利用径向模糊（缩放）并放置到图像的中心。

8. Color Adjustments
I didn’t go as crazy as I normally do with color adjustments, but I used this step to add a hint of warmth to the daytime shot and pull out some more detail from the shadows in the dusk shot. I also painted in some haze in the distance to promote the feeling of depth. Finally, a radial blur (zoom) was applied to the dusk shot and then masked away towards the center of the image.

我希望为这个项目制作更多的透视图，因为在这个设计中有很多瞬间场景需要类似的研究，特别是人们穿越桥下的空间体验，应该也会产生一些有趣的视点。

I am hoping to generate several more perspective illustrations for this project since there are lots of little moments throughout this design that I think warrant similar studies. Especially the experience of crossing the bridge that should yield some interesting viewpoints.


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