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The
cliff retreat has been a fun project to design and I find myself
constantly jumping back and forth between the macro and micro scales of
the design. For the micro scale, the lack of detail in the model can
make it difficult to visualize some of the design ideas. Therefore, I
looked to Photoshop to quickly add some missing information and to help
me study these different moments by exploring textures, scale and
light. Below is a quick break down of one of the images.
悬崖公寓是个很有意思的项目，A神的意识不断在宏观和微观尺度间来回跳动。微观角度来说，模型中缺乏细节会让设计思路阻塞。所以A神通过探索材质、尺度和光线来研究不同的情景，通过Ps来给图面添加缺失的信息。
View of Sketchup Model
V-Ray Base Rendering
V-Ray Material ID Channel
The
3D model is still lacking materials and detail,so I had to do my due
diligence to find good textures to overlay on top of theclay model. The
geometry itself is simple in many of the views, so the Photoshop post
processing took little time compared to other images. I probably
averaged two hours of post processing per image. The secret was having a
good Material ID channel to help me make selections. Material ID is
something that I haven’t talked about much on this site, but is crucial
for fast and clean Photoshop post processing. I will follow up this post
with a part 2 tutorial describing how I create and integrate the
Material ID channel into my workflow.
3D模型缺乏材料和细节，所以必须找到好的材质附加到模型上面。模型本身产生的视图是很简单的，所以就必须在Ps上面下功夫。上面几张图像在Ps中A神平均每张处理2小时左右，而他P图的基础秘诀就是ID材质通道，这个对于PS后期处理至关重要。
I
grouped the layers in Photoshop by texture and then masked off the
groups instead of each individual texture. This made for clean photoshop
files and will allow for simple edits if the design changes later.This
concept will also be covered more in depth in part 2 of this post.
A选择在PS中对图层进行分组，而不是选择将每个单独材质散乱放置，这样更容易编辑，并且保证PS文件在编辑完成以后更容易规整。
For
the final image, I converted to black and white to downplay the strong
green vegetation and shift focus back tothe textures and light. There
was a little more to the black andwhite conversion than just
desaturating the image. I increased the contrast byduplicating the image
and setting the layer blend mode to “Overlay”. I also ransome Topaz
filters to sharpen the image and enhance the details.
最终图像A神选取黑白为主色调来代替绿色植被的强烈对比，让观众将焦点转移回材质的纹理和光线的明暗。而且黑白对比转换相对更容易将图像提纯。同时A神将图层复制并且覆盖来增加对比度，并运用Topaz过滤器锐化图像，增强细节。
原文地址：https://visualizingarchitecture.com/cliff-retreat-moments-part-1/
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