Desert House Vignettes
由专筑网李韧，王帅编译
这周，我为Trench住宅项目制作了一些额外的外不雅观透视图，通过不同的色彩组合更能够表达广阔的场景，该项目位于美海内华达州的沙漠之中，建筑的周围环境险些不须要过多的后期处理，这样我就能够有更多的韶光来研究画面的艺术色彩，接下来，我来阐明一下这些图像的制作思路。
This week, I got back into the Trench House project by generating some exterior vignettes. I wanted to use these images to emphasize the vastness of the context and also to explore some color combinations. Since this project sits in the middle of a desert in Nevada, the time it takes to Photoshop the surrounding environment is minimal which allowed me to generate several illustrations quickly and spend a little more time on the exploring the art side of things. Below, I explain some of the concepts and reasoning behind this set of images.
1、镜头间隔
上文中我已经解释，这些图像制作的目的是用来表达广阔的背景，我利用了两种办法，第一，我拉大镜头间隔，这样让建筑只霸占画面中很小的一部分，如果在学校的课程设计中，我这样做大概会让建筑失落去一些细部的表达，在这里拉长镜头间隔或多或少会减少一些建筑细节。但是，这样做也有其优点，由于它能够让你更关注其他的信息，例如构造的形态，或是周围的景不雅观，重点是我表达出了建筑基地的广阔，并且通过天空与地面的肌理来表达出空间感。
1. Camera Distance
As I mentioned above, one of the goals of these images was to reveal the vastness of the surrounding site. I did this two ways. First, I pulled back the camera so that the architecture only made up a small portion of the image. Going through school, I was always afraid to make my design so small in the image because there was always a sense that I needed to show as much detail as possible in the architecture. Making the building so small within the image meant a lot of the detail was getting lost. However, now I realize that this move is in many ways advantageous. Since the detail is abstracted, it forces the viewer to focus on other elements such as the profile of the architecture or in this case, the landscape around it. I also played up the vastness of the site by letting the sky and ground textures do a lot of talking in the images by using some dramatic cloud formations and strong directional elements like the tire ruts in the ground.
2、构图
我只管即便让构图变得大略一些，由于我更想要表达周围的景不雅观，因此画面下部的三分之一我留作地平面，同时留出大面积的天空，从图中可以看出构图的三分之一原则，许多主要的节点我都刚好卡在图像的三分之一处（比如图像1中的女性定位，以及图像2中的建筑定位）。
2. Composition
I kept things pretty simple and safe with the composition. Again, I wanted to play up the landscape, so I kept the horizon at the lower 1/3 of the images so that the sky would take up more real estate. I eye-balled a lot of these camera setups, so there are several near-misses in terms of where geometry and focal points are landing on the 1/3 marks of the image (corner of the the building in view 02 and placement of the woman in view 01).
3、色彩
该项目位于沙漠之中，这样的场景很随意马虎变得单调，以是我为每个图像都添加了主题色彩。在不同的画面中，我通过空气中的颗粒度和粉尘度来强调沙漠中的干燥氛围，并且让夜晚的画面看上去清晰生僻。我在上文中就提及，由于这次没有花很多韶光用于后期制作，那么我就可以将较多的韶光花在色彩调度之中。
3. Color
With the location being in the desert, it is easy for the scenes to get somewhat monotonous, so I gave each scene a primary color to start with. In each case, I used dust and dirt in the air to reinforce the arid climate atmosphere with the night scene getting a little more clear and cold feeling. As I mentioned above, there wasn’t a lot of time needed in Photoshop adding in texture and detail which meant I was able to spend more time experimenting with color.
4、终极成图
这些图像很有趣，实在调度色调所花费的韶光一点都不少于渲染，或者是PS制作细节和肌理，就难度而言，这些调度实在更加随意马虎。
4. Final Images
I had a lot of fun making these images. I would say all of these images hit my sweat spot in terms of balance between time spent modeling, Photoshopping in detail and texture, and experimenting with color and atmosphere. In terms of difficulty, these were actually quite easy. I am thinking one of these may be a good candidate to break down further into more detailed explanations of each step of the process. Stay tuned.
