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A
big part of this design is how the landscape slips under and around the
structure. As a way for me to understand there lationship between the
landscape and architecture, I put together a few diagrams. The success
of this image relies heavily on the textures. The vegetation is the
focus with the architecture playing a subsidiary role, hence why the
grasses are so saturated and the architecture transparent.Below, I put
together a quick breakdown of how the images were created.
这个设计的很大一部分重点在于如何将环境与结构周边无缝隙连接，作为了解景观与建筑之间关系的一种方式，A神将几张图放在一起比较，这种方式的亮点极度依靠环境产生的纹理。植被在衬托环境层面对于建筑来说发挥着很重要的作用，因此在这些图中草地饱和，建筑透明。
1. Clay Model
粘土模型
I
am starting out with a simple V-Ray clay rendering o fmy Sketchup model
to act as a base to which I will add texture and lighting.This
rendering took minutes to generate, but gives me good light and shadows
to work with.
A神首先使用简单的V-ray粘土渲染SU模型，并且作为添加材质和照明的基础。这种渲染用时很少，却能为模型带来很棒的光线和阴影。
2. Smudge the Edges
粗化边缘
Since
this image will be covered with vegetation, I used the smudge tool in
Photoshop to rough up the edges and give the geometry a more weathered
look.
使用PS的涂抹工具将建筑边缘粗化，这样图像给出一个风化的感觉
3. Add Texture
添加材质
I
compiled a large amount of textures of all of the different conditions
that I would run into in this image. This includes several wild grasses
at both a straight-on angle and side angle, the cliff wall, cliff edge,
rock and grass mixture, etc. Once I had all of my textures, I slowly
pieced them into the clay model. By setting the texture layers to
“Multiply” in the layer blend mode dropdown, I was able to merge the
colors and textures with the shading of the clay model base.
A神之前就攒了许多种材质来应对现在的情况。数量和种类是非常丰富的，比如直角和侧角的几种野草，悬崖的表面，悬崖的边缘，岩石和草的混合物等等。在材质充足的前提下，将它们拼接在模型上面，通过在图层混合模式下拉列表中将材质图层设置为“乘法”，可以将颜色和材质与模型阴影进行合并。
4. Architecture Clay Model
建筑粘土模型
An
important part of the diagrams is the relationship of the architecture
to the landscape. I therefore needed to overlay the architecture into
the illustration. To do this, I generated a second clay model rendering
with the architecture layer turned on in the 3D model. In Photoshop,I
then masked out the background and merged the shadows of the
architecture with the landscape.
图面的重点在于展示景观和建筑的关系。所以A神计划将建筑重叠在插图中，他用的方式是在3D模型中第二次渲染，在Ps中隐藏背景，将建筑的阴影和环境融合。
5. Dilute and Outline
降低透明度和轮廓线
The
architecture clay model seemed too bold and distracting,so I lowered
the opacity and then gave it a thick outline so that it read more
diagrammatic and allow some of the landscape texturing to show through.
直接的模型在图中太过显眼，所以A神降低了不透明度，并且加深了轮廓线，使得画面更加直观，并方便展示景观材质。
Final Image
最终形象
The
design is still in flux, but since I have the Photoshop files already
setup, I can simply update these diagrams as the form develops. It
seemed that most of my time was spent searching for the textures online.
The toughest part is finding images at a high enough resolution. Once I
had the textures, the illustration moved relatively fast. The good
thing is that I now have a good library of images going that I can use
for the rest ofmy illustrations for this project.
形体本身还未固定，随时可以改变，但A神的重心放在了高分辨率材质上面，在足够数量的材质基础下，后期处理是非常迅速的。
原文地址：https://visualizingarchitecture.com/cliff-landscape-study/
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