人物密度表达：活力与宁静
Entourage Density: Active vs. Tranquil

由专筑网李韧，杨帆编译

在接下来的两个图像中，我将通过费城大桥的场景来表达不同的思路。这个设计中包含有不同的类型与景观层次，所有的图像信息都取决于自己想要表达的内容。因此，我希望每个图像能展示出公共活动空间的不同氛围，例如从安静到活跃的和谐转换。图面中的人物设置是至关重要的。在图像制作的过程中，许多人都会花大量的时间来设置其中的人物，以求达到完美的平衡。一般来说，我们会在图面中加上大量的人物，而不是将其数量减少。在大多数建筑场景制作中，我常常见到的一个错误做法是许多制作者都会通过减少人物数量来表达场景。

人物的放置并不容易，但这样能够让画面更具层次感。人们认为，较少的人物会让建筑效果图更具诗意与艺术气息，但是，“少就是多”的建筑理论并不适用于所有场景。以下两个图面便能很好地展示人物数量对于画面的重要作用。在商业场景中，我们常常需要大量的人物来渲染气氛。在接下来的文章中，我将为大家展示三种不同的人物数量所带来的场景效果。

The next two illustrations that I have generated for the Philly Bridge explore the procession across the bridge. The design incorporates different types of program and landscape depending on the path you choose and the activities users plan to partake in. Therefore, I wanted each image to show the range of experiences from very public, active spaces to quieter and more contemplative moments. Entourage became the driving force for both image narratives and was where a lot of my time was spent. At Design Distill, many of our clients spend much of their time tweaking the entourage we placed and honing in on the perfect balance and amount. It is often the case that we are adding more people to an illustration versus taking them out. A common theme I see in most architectural images is erring on the side of less people instead of more.
Placing in entourage can be quite laborious so it makes sense that images lean towards fewer scalies. It is also the case that many see architectural illustrations as more poetic and artistic when less people are in the images. However, the default should not always be less is more. In both images below, the amount of people played a crucial role in setting the tone for each image. In the case of the retail scene, a large amount of people were required to create an active and lively environment. Further down the post, I showed three versions of the image with different amounts of people to better show how the image changes with just the adjustment of this one variable.


1、SU模型

首先创建一个公园人视角的基本模型。效果图的制作主要运用的是PS，因此我会在PS中进一步调整细部信息。商业走廊的制作也很简单，但我花费了较多时间来建立商铺的玻璃立面，并且添加了细部座椅。

1. Sketchup Model
For the park view, the model was as basic as you could get. I knew that image would largely be created in Photoshop, so I focused on basic massing information to guide me once in Pshop. The retail corridor view was simple as well, but a little more time was spent setting up the glass storefront system and adding small details to the tiered seating on the left.


2、V-Ray基础渲染

对于这个视图来说，重要呈现的是肌理效果。但我仍然想为商业部分增添一些细节，公园的部分主要以植物为主，因此在这部分我没有花太多的时间。

2. V-Ray Base Rendering
The retail corridor view relied more on texturing than the park view. I wanted to make sure I had some good reflections to work off of for the retail corridor view. The park view was essentially all vegetation, so I spent much less time texturing that view.


3、肌理制作
  

在公园部分我运用了谷歌地球的城市3D体量模型截图。截图的图像质量很低，但是你可以清理一下天际线轮廓，并为其添加雾化效果，总体来说，这样的操作手法还是极具性价比的。由于角度的特殊性，我只能选择一张看上去场景类似的背景图。

我花了一些时间来制作室内商业空间，这会使每个商店都具有层次感，其中还有在网上找到的品牌图片，以及一些具有商业氛围的照明设备。

3. Photoshop Texturing
In the park view, I first switched out the city 3D massing with a Google Earth screenshot. Yes, I said Google Earth. The quality of the screenshot was pretty low, but if you take some time to cut out/cleanup the profile of the skyline and then cover up with fog, it ends up being a simple but effective solution. I was able to match a difficult view that wouldn’t exist unless someone took a drone photo at that exact position.
For the retail corridor, most of my time was spent stitching in the interior retail spaces. Each store is made up of several layers including a base photo of the store found online, light fixtures and additional ambient spot lighting.


4、光线与色彩

对于这些图像来说，这一步骤能让其更具层次感。公园的背景视图具有雾化效果，从而让前景更加突出。柔和的蓝色会让整个画面更显平静。相反，如果想要表达下午的氛围，只需调整为暖色的灯光。

4. Light and Color
For both images, I used this step to define the hierarchy of the images. In the case of the park view, fog was inserted to push back the skyline and really play up the foreground grass. Soft blue tones helped push the narrative of early morning and calmness. Conversely, I washed the retail corridor view with lots of warm light to push a more active middle of the afternoon atmosphere.


5、人物

正如前文中所提到，在人物的设置中，我花费了很多时间，因为人物的数量及摆放位置能够充分烘托场景需要表达的效果。我附上几个不同氛围的透视图，这样能够更好地说明人物变化对于图面氛围的影响。一般来说，我会在公共活动区、就餐区、休息区等场合运用大量的人物。

5. Entourage
As I mentioned in the intro, I spent much of my time with these images setting up entourage. People were used to create the contrast between the active and less active zones of the project. I uploaded a couple of different versions of the retail corridor view to better illustrate how the energy of the images change as more people are placed in. In the past, I would have stopped at step one or two. Instead, I opted for more density and used that density to acknowledge the zones in the view such as formal dining, informal dining, lounging, etc.

我在制作新图像时，会希望打破以往的一些习惯，例如在玻璃后方添加细节信息，亦或是添加一些3D模型。

As I continue to create new images, I still hope to break down some concepts within the views such as adding interior information behind glass, texturing, and possibly some 3D stuff, assuming I can find time. Stay tuned.


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