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Porter Sq. Section by Alex Hogrefe

由专筑网小R编译

在过去的几个月里,我一直在为Porter广场项目制作一些图像,这个是一个剖视图。我希望这个图像能够保持单色,为了表格这种风格的插图,我区分了几个层次的肌理,打破了3D的感受,同时让图面看起来抽象一些。最近我制作的图像分辨率会高一些,因此我对于肌理的处理方式会有些不同,高一些的分辨力可以让人们在不同的角度来观看,图面也经得起近距离的推敲,那么这也说明肌理需要有微观和宏观上的区分,因此有时候我会添加一些近距离的肌理,有时候我也会添加一些宏观的肌理。我甚至依据观看图像的距离不同而应用了两个层次的噪点。以下便是细节的教程。

I have been developing several illustrations for the Porter Sq project the past couple of months and have finally finished one of the section diagrams. I decided to go a little old school with this one and keeping things monotone. With this style of illustration I am layering in several types of textures to break up the 3d perfection and add a little grain and abstraction. The illustrations that I am creating these days are at a much higher resolution than the work I created several years back and thus I approach texturing a little differently. The higher resolution means that viewers can view the image at different vantage points and the image needs to be able to read well at both a distance and up close. This means the textures are applied at both a macro and a micro level. There are times when I am adding textures close up at specific moments, and there are times when I am applying textures across the entire image. I even applied two layers of noise that read different depending on how close you are to the image. Below is a breakdown of some of these details.


1、基本渲染图像
1. Base Rendering Cleanup


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V-Ray基本渲染白模
V-Ray Base Rendering with Material Override On

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给剖面添加白色线条和人物
Base Rendering with the Section Cut Poché and Entourage


用SU模型渲染一个基础的白模,然后在PS中进行简单的处理,给剖切面添加白色的线条和相应尺度的人物。

A simple V-Ray clay rendering was generated from the Sketchup model. I then cleaned up that rendering in Photoshop by adding a white poché to the section cut as well as people for scale


2、污迹
2. Smudge


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单独的污迹图层
Smudge Group Isolated

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污迹图层和画面结合
Smudge Group Applied to Image


添加一些“污迹”能够很好地让基本渲染图像变得真实一些,因此我用不透明度较低的笔刷刷上一些黑色,这些污迹主要集中在阴影的部分,需要注意的是,我擦除了一些比较锐利的边缘,这样能够构成光线的遮挡效果,最后我给天空也添加了一些色调,区分了背景和剖面图像。

Adding “Smudges” is an easy way to break up the perfect gradients of the base rendering. Here, I am just painting in some black paint using a soft brush at a very low opacity. I am focusing the the smudges at corners and where shadows are collecting. You will also notice that there are moments where I masked the smudges for sharp edges to create an ambient occlusion effect to play up certain geometry planes. Finally, I added some tone to the sky to better define the horizon and actual section cut.


3、微观肌理
3. Micro Textures


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微观肌理
Micro Textures


我想要打破白模的完美的形态,因此我在图像周围添加了一些肌理贴图,这些贴图在图像放大的时候会让其看起来细节丰富一些。

I wanted to further break up the perfect gradients of the clay model rendering, so I added textures to specific moments around the image. These textures added a hint more detail when zoomed in close to the image.


4、宏观肌理
4. Macro Textures


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宏观肌理
Macro Texture Isolated

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宏观肌理应用于画面
Macro Texture Applied to Image


整个图像都应用了宏观肌理贴图,上一个步骤中这些贴图比较微观,那么在这个步骤中的贴图就可以让人们从远距离来欣赏图面。这种效果比较微妙,但是能够区分出背景和图像。

A texture was applied across the entire image. Since the textures in the last step were meant for a closeup view, the texture used here is meant to read from a distance and won’t be that perceivable up close. The effect is subtle, but helps further breakup the smooth gradients in the sky and over the entire image in general.


5、噪点
5. Noise


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微观噪点
Micro Noise

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宏观噪点
Macro Noise

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添加噪点的前后对比
Before and After Noise

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噪点应用于图面
Noise Applied to Image


接下来是噪点阶段,我需要给图面添加一些噪点,我希望它能够打破一些渲染出的较为锐利的边缘,并且让图面抽象一些,在这个图像中,我应用了两个层次的噪点,第一个层次的比例较大,便于宏观欣赏,而第二个层次则细致一些,便于微观欣赏。两个层次都有不同的透明度,因此看起来又好像混合在一起。

I’m in a “Noise” phase at the moment where I seem to be adding noise to every image I create. I like how it breaks up the super sharp edges of a rendering and adds a bit of abstraction. In the case of this image, I applied two layers of noise. The first layer had a larger scale so that it would read at a macro scale. The second layer of noise had a much finer grain to it and was meant to read better when zoomed in close to the image. Both layers had a lowered opacity so that they somewhat blended together.


6、色彩
6. Color


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色彩
Color Swatch

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最后样式
Final Image

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最终成图
Final Image Closeup


最后我给图面添加了一些色彩,让内容变得稍微暗一些,这样的剖视图有着低饱和度的色彩和肌理,这是我很喜欢的图面样式,就技术而言,这种图面制作比较简单,但是看起来有些保守了,但是仍然能够表达一些比较复杂的信息。接下来我会制作鸟瞰图。

Finally, I added a hint of color to the image and darkened everything slightly. This section cut illustration with the desaturated tones and layers of texture is one of my favorite style of images to work on. From a technical standpoint they are easy to create. Even though it has an old school feel to it, the image still works well as a diagram and clearly conveys some complex information. I am planning to follow this up with an aerial axon illustration soon.

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