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I was
finally able to setup some interior scenes for the cliff retreat
design. I decided to go black and white with these images to relate back
to the black and white exterior images generated a few posts ago.
However, the desaturated colors will also help play up the light and
shadow of the interior views and highlight the concrete textures that
dominate the space.
A神在室内场景决定使用黑白为主色调，同时不饱和色调也同样有助于内部光线和阴影的影响，并且突出显示主导空间的材质。
1. Sketchup Model
SU模型
Above
is a hidden line view of the Sketchup model. The 3d model remained
relatively simple with a Kahn like waffle slab to help break up the
large concrete ceiling plane. All furniture was found in Sketchup 3D
Warehouse.
上面图使用类似华夫饼的拼版来展示分解混凝土天花板的构成，3D模型相对简单，所以家具都可以在SU的 3D Warehouse里面找到。
Above
is the Sketchup model with materialsturned on. A lot of my time was
spent experimenting with concrete textures and honing in on the right
amount of bump and reflection. While I like to photoshop textures on
exterior views like these images, it is too difficult to manually
texture in interior scenes. Interior views often have too much geometry
and detail to mask around and too many reflective surfaces to deal with.
A神使用大量时间和精力在场景中对材质进行研磨，在光照方面测试合适的反射次数。A神的经验告诉我们室内场景中使用室外环境材质的纹理展示较为困难，室内环境通常需要展示大量的细节，并且表面反射也是一个重点考虑对象。
2. V-Ray Base Rendering
V-Ray基本渲染
Above
shows the V-Ray base rendering. Along with the concrete texture, I also
setup a gloss white acrylic for the Saarinen Tulip furniture, chrome
materials for the Arco floor lamp and Barcelona chairs, and a simple
wood material for the millwork on the left.
上图中除了具体的材质还添加了Saarinen郁金香家具、Arco的落地灯、巴塞罗那椅子，并在椅子上面添加镀铬材料，对左边的木制品做了木材的设置，添加了白色亚克力。
3. Photoshop
PS
Once in Photoshop, I started setting up masks and desaturated the color taking everything to a simple black and white image.
着手PS，首先设置去饱和色，变成黑白图像。
4. Adjust the Levels
调整层级
The
image is lacking some contrast so I adjusted the levels to deepen the
darks and punch up the highlights. I also added some vignetting (shadow
around the edges of the image) to help draw the eye to the center of the
composition. Finally, I added a slight haze to give some depth as well
as lit up the left wall to help articulate the shift in wall plane from
the dining room to seating area in the back.
由于初期图像缺乏对比，所以需要加深阴影，调亮亮度。并且增加一些图像周边的晕影，可以帮助人们将视觉重心放在图面中心位置。最后增加一些轻微的阴影，提升视觉深度，把左边墙照亮，帮助将视觉从餐厅延展到背后休息区。
5. Room Accents
房间
Some
vegetation was added to the outdoor terrace to better visually separate
interior from exterior. Other elements like the dining room pendant
light, ceiling spot lights, and paintings were added in
Photoshop instead of modeled in 3d because I find it easierand faster to
iterate and test out ideas in this environment rather than waiting for
test renderings to kick out. The paintings especially changed quite a
bit once desaturated, requiring a lot of experimenting to find the right
tones. Finally, some people were placed in the back to avoid drawing
too much attention while still adding scale and activity to the space.
一些植物的添加将室内外更好的区分。在PS中添加吊灯，天花板灯光和墙体上面的挂画可以减少渲染时间更为高效。在3D里面建模渲染时候需要大量调试才能找到正确的色调。最后，在图面深处放一对小人，在空间上增加活跃性。
Final Images
最终成图
原文地址：https://visualizingarchitecture.com/cliff-retreat-interiors/
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