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I
wanted to have some fun with this image and create something that
conveyed the scale of this project. Sortof a grand finale image. I have
already generated a lot of close-up vignettes, but nothing really
showing the project its totality. I chose a view that would grab some of
the horizon, but also show the cliffs crashing into the water below.
Because of the parameters of the view, I didn’t have an aerial image
that I could just patch my project into. I had to create something from
scratch by stitching many context images together. Below is a quick
break down of the illustration.
A神尝试在图面表达上增加一些趣味性，并可以表现出来项目的规模。之前A神对于这个方案已经从几个方面着重讲解了，但是还没做一个整体性的描述。这次A神选择一个角度，重点在地平线方向，但同时也显示悬崖坠落水面的场景。即使因为参数原因没有鸟瞰图来辅助展示，A神仍然通过上下文图像拼贴，自己来构建分析。
1. Sketchup Model
SU模型
Above is the Sketchup model showing the full height of the cliff to help me scale textures properly in Photoshop.
SU模型显示悬崖全景，可以帮助在PS过程中合适的选择材质。
2. V-Ray Base Rendering
V-Ray基础渲染
Above
is the base rendering straight out of V-Ray. I dropped in a few omni
lights to light up the interior and highlight some of the exterior
facades. The final rendering had a resolution of 6,000px X 3,333px.The
resolution is a little higher than I normally render because I wanted to
maintain as much detail as I could with the architecture being so small
in theimage.
由于想尽可能多的表达细节，A神在这个图中选择6000px X 3333px的分辨率，运用全光灯照亮室内，并且突出了外立面。
3. Context
与环境的联系
The
first step in setting up the context is collecting a ton of images. I
collected about 50 images of the Iceland cliffs that covered all of the
different scenarios in my scene. I spent more time looking for images
than I actually did piecing them together in Photoshop.
环境表达的首要任务是收集大量的图像，需要涵盖所有不同的场景，而非简单的PS中拼接，本方案中A神大概搜集了50张左右的冰岛悬崖照片。
4. Foreground Cliff
悬崖公寓的前景图
I
started with the foreground cliff since this interacts the most with
the architecture and will inform how the rest of the image would be
composed. The hardest part was finding an image at a high enough
resolution and at the correct angle. I ended up using three different
images and distorting them quite a bit to match the perspective.
前景图的角度可以最大化的展示悬崖和建筑的联系，并且能明确地告诉我们其余的景象是如何构成的。最难得部分是找到足够高的分辨图的图像和合适的角度，最终这张图中使用了三种不同的图片，并且做了一些扭曲。
5. Background Cliffs and Water
悬崖的背景和水系
A
very important part of this image was the waves crashing at the base.
Again, it was difficult finding something at the correct angle and with
the right amount of wave energy. I combined two different images of the
ocean to get the look that I wanted. I also added some background cliffs
to break up the horizon line and give some depth to the illustration.
这张图一个非常重要的点是浪花拍打在悬崖上的场景，而且也很难找到合适的角度和浪花，A神合成两个不同的海面图片，还添加一些背景悬崖来削弱地平线，增加层次感。
6. Grass and Sky
草和天空
The
grass was added towards the end to tie all of the different cliff
textures together. The grass itself was made up of three different
images copied and cloned many times. A simple dusk sky was added to
complete the context.
草地是最后添加的，把不同的悬崖材质联系在了一起，草地本身运用三种材质拼贴，然后背景天空选择了黄昏。
7. Darken
场景暗色调
After
completing the context, I could start adjusting the overall tones. I
added a grey/blue overlay to darken everything except for the sky. I
also adjusted the levels of the base rendering architecture to darken
the exterior and punch up the light in the interior. A better
description of this darkening technique can be found in this Post.
整体色调在添加灰色/蓝色的叠加层以后将除天空外的所有东西都变暗，同时调整建筑的基础渲染，将外部环境变暗，使得内部灯光更为醒目。
8. Details
细节
In
this step, I spent some time tweaking facade tones,and manually adding
in new lights. This helped to highlight slits in the ground as well as
activate important spaces such as the grand stair going down to the
lookout platform. I also added people, the garden on the balcony, more
texture to the interior, and paths leading off into the distance. More
on the technique of manually adding light can be found here.
在这一步中，重点调整外观的色调，并且添加新的灯光，这样有助于凸出地面的裂缝，并且激活重要空间比如大楼梯和望台。A神还在这个阶段添加了小人，阳台上的花园，和更多的内部材质。
9. Atmosphere and Color
氛围和色彩
With
the details in place, I experimented with different atmospheric
conditions. The key here is to be subtle. It’s easy to overdo it with
the fog and clouds, but with this image, I just wanted to give the hint
of some fog rolling in from the ocean. I also inserted more color
overlays and moved away from the purple tones to blue tones. I go into
more depth with techniques of adding fog and atmosphere in my Foggy
Wharf Post and my Atmospheric Fog Tutorial.
细节到位的前提下，氛围的尝试就变的很微妙了，很容易用云和雾覆盖。但在这张图中，A神认为只在海面上增加一些雾更合适。所以A神插入更多的颜色图层，并将紫色调调为蓝色调。
原文地址：https://visualizingarchitecture.com/cliff-retreat-finale-image/
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