創(chuàng)建吸引人的3D插圖

42客房是一個輝煌的系列插圖在等距的風格。 創(chuàng)意人The Stompin'Ground共享項目背后的過程，從2D概念到最終形象

42 Rooms is a brilliant series of illustrations in an isometric style. Creative duo The Stompin' Ground shares the process behind the project, from a 2D concept to a final image

Concept and Sketches

When starting the 42 Rooms project, we knew we wanted to create something isometric and colorful that played with the idea of multiple dimensions in an infinite universe. We decided on creating a series of rooms that explored the bizarre to the mundane across one moment in time. Taking that idea forward, we started to sketch out lots of different rooms; sketching is the best way for us to go in terms of initial idea generation, forming ideas from the marks on the paper.

概念和剪影

當開始42房間項目，我們知道我們想創(chuàng)造一個等距和豐富多彩的，在無限宇宙中的多維度的想法。 我們決定創(chuàng)建一系列的房間，在一段時間探索奇怪的世界。 想到這個想法，我們開始畫出許多不同的房間; 草圖是我們在最初的想法生成，從紙上的標記形成想法的最佳方式。

Once we had a good 2D base we quickly moved into 3ds Max and Photoshop, continuing to use these tools to further develop our concept. Each room in the series has its own specific inspirations, but in the case of The Construction Room, they were the boiler room from Spirited Away (the drawers on the walls) and the Nintendo game Pikmin, where the characters are collecting parts of the spaceship so they can go home.

一旦我們有了一個良好的2D基礎，我們很快就進入了3ds Max和Photoshop，繼續(xù)使用這些工具進一步發(fā)展我們的概念。 系列中的每個房間都有自己特定的靈感，但在建筑房的情況下，他們是來自千與千尋（墻上的抽屜）和任天堂游戲皮克明的鍋爐房，人物正在收集太空船的部分 所以他們可以回家。

Modeling

Everything in the scene was made with really simple polygon modeling techniques, using TurboSmooth and Quad Chamfer to soften any hard edges, which helps to catch the light. The only rule we stuck to was that we would work close to a real-world scale to make it easier when it came to lighting the image.

建模

場景中的一切都是用非常簡單的多邊形建模技術制作的，使用TurboSmooth和Quad Chamfer軟化任何硬邊緣，這有助于捕捉光線。 我們堅持的唯一規(guī)則是，我們將接近現(xiàn)實世界的規(guī)模，使其更容易，當它來照明圖像。

Revisions

Throughout the beginning stages of a project we find it really beneficial to render low quality drafts and draw over them in Photoshop as this can really help to evolve an idea, and give you a concise direction as you move from concept to completion. Once we were happy with our final design we went back into 3ds Max and amended the model. You can see from the images how our design for the room changed during the revisions process.

修訂

在項目的整個開始階段，我們發(fā)現(xiàn)在Photoshop中渲染低質量草稿和繪制它們是非常有益的，因為這可以真正有助于發(fā)展一個想法，并在您從概念到完成移動時給出一個簡明的方向。 一旦我們對最終設計感到滿意，我們就回到3ds Max并修改了模型。 你可以從圖像看到我們的房間設計在修訂過程中改變了。

Setting up the camera

When it came to setting up the camera for the scene, we used a standard 3ds Max camera with VRayExposureControl for getting an orthographic render. In the latest version of V-Ray you are able to render from an orthographic camera but we found the following method quicker and easier. First, we created a 3ds Max standard camera, ticked the Orthographic Projection checkbox and moved it into position. Then we added a VRayPhysicalCamera in the same position and refined the exposure settings; this camera was added as a node to the V-Ray exposure settings by opening Environment and Effects (hotkey 8), selecting VRayExposureControl from the drop-down menu and finally clicking on the "Camera node" box and selecting the V-Ray camera.

設置相機

當涉及到為場景設置相機時，我們使用一個標準的3ds Max相機與VRayExposureControl獲得正交渲染。 在最新版本的V-Ray，您可以從一個正交相機渲染，但我們發(fā)現(xiàn)以下方法更快更容易。 首先，我們創(chuàng)建了一個3ds Max標準相機，勾選了正交投影復選框并將其移動到位置。 然后我們在相同的位置添加了VRayPhysicalCamera并改進了曝光設置; 通過打開環(huán)境和效果（熱鍵8），從下拉菜單中選擇VRayExposureControl，最后單擊“攝像機節(jié)點”框并選擇V-Ray攝像機，將此攝像機作為節(jié)點添加到V-Ray曝光設置。

Lighting

Although the lighting of the room was one of the most important aspects in creating the mood and style of the image, we kept a very simple setup. We used a V-Ray dome light with a sky blue color to fill the room with natural ambient light, and a V-Ray sun with lowered intensity for the direct light in the centre of the room. For the light bulbs, we made a filament from a renderable spline and added this to a V-Ray mesh light.

燈光

雖然房間的照明是創(chuàng)造圖像的心情和風格的最重要的方面之一，我們保持了一個非常簡單的設置。 我們使用一個V-Ray圓頂燈與天藍色填充房間自然環(huán)境光，和一個V-Ray太陽降低強度的直接光在房間的中心。 對于燈泡，我們從可渲染的樣條制作了燈絲，并將其添加到V-Ray網(wǎng)狀燈。

Textures

Once again, we tried to keep the texturing process relatively simple. We wanted the materials in the scene to look realistic but with a naive and exaggerated style. The most complicated material in the scene was the metal that was used on the rocket; we used a VRayBlendMtl and added a basic satin metal with a reflective glossiness of 0.8 in the "Base material" slot, we duplicated the same metal to "Coat 1" but changed the reflective glossiness to 0.99. This was then blended together using a custom falloff curve to give a mirror finish at an acute viewing angle.

紋理

再一次，我們試圖使紋理過程相對簡單。 我們希望場景中的材料看起來很逼真，但是天真和夸張的風格。 在現(xiàn)場最復雜的材料是火箭上使用的金屬; 我們使用VRayBlendMtl并在“基材”槽中添加反射光澤度為0.8的堿性緞光金屬，我們將相同的金屬復制到“涂層1”，但是將反射光澤度改變?yōu)?.99。 然后使用定制的衰減曲線將其混合在一起，以在銳角視角下得到鏡面光潔度。

V-Ray Environment Fog

To get the subtle volumetric light effect we used VRayEnvironmentFog. There aren't any universal settings that will work for every scene; it was just a matter of experimenting with the parameters until we had a result we were happy with. Because we only wanted the fog to appear in front of the window, we made a basic wedge shape which was made unrenderable and added it as a gizmo to the VRayEnvironmentFog nodes rollout. We rendered the fog out as a separate pass so that we had more control over the final image. This was done by adding a black material to everything in the scene except the window glass and saving out the VRayAtmosphere render element.

V-Ray環(huán)境霧

為了獲得微妙的體積光效果，我們使用VRayEnvironmentFog。 沒有任何通用的設置，將適用于每一個場景; 它只是一個實驗的參數(shù)的問題，直到我們有一個結果，我們很高興。 因為我們只想讓霧出現(xiàn)在窗口的前面，所以我們做了一個基本的楔形，這是一個不可渲染的，并將它添加為一個Gizmo到VRayEnvironmentFog節(jié)點卷展欄。 我們將霧作為一個單獨的傳遞，以便我們有更多的控制最終圖像。 這是通過向場景中除窗口玻璃之外的所有內容添加黑色材料并保存VRayAtmosphere渲染元素來完成的。

Rendering out

We used relatively standard render settings, opting for irradiance map and light cache for the quicker render time. We made sure we had lots of channels and render elements to give us that extra control when taking the image into post-production.

渲染出來

我們使用相對標準的渲染設置，選擇輻照度映射和光緩存以實現(xiàn)更快的渲染時間。 我們確保我們有很多的頻道和渲染元素，給我們額外的控制，把圖像進行后期制作。

Post-production

Taking our base render into Photoshop, we stacked some of the render elements using blending modes such as Multiply, Soft Light, Overlay and Screen. We also applied some Curves and basic color correction until we had an image that we were happy with. Final details such as enhancing the light bulbs, and the welding sparks were then added, which really started to bring the image together. Finally, we painted in some highlights and glows, screened over the atmosphere pass and added some shading to the cross-section of the walls and floor.

后期制作

將我們的基礎渲染到Photoshop中，我們使用混合模式（例如乘法，柔光，覆蓋和屏幕）堆疊了一些渲染元素。 我們還應用了一些曲線和基本的顏色校正，直到我們有一個我們很高興的圖像。 最終的細節(jié)，如增強燈泡和焊接火花，然后添加，這真的開始帶來的圖像在一起。 最后，我們畫了一些亮點和發(fā)光，屏蔽了大氣通過，并添加一些陰影到墻壁和地板的橫截面。

Please check out www.thestompinground.co.uk to see the rest of the images in this series!

請查看www.thestompinground.co.uk看看這個系列中的其余圖像！