[教程] 用Photoshop制作汽车效果图

蜡相

转两篇关于 Photoshop 处理汽车表面效果的文章。
第一篇， 是中文译的。
第二篇的作者Cor Steenstra，毕业于皇家艺术学院Royal College of Art， 现在工作于加州的一个汽车造型设计公司。如果可能我会对他所在的设计公司的作品做个展示。


Photoshop精描全尺寸汽车效果图
作者：fape译  发表时间：2005-06-22


　　译者：此教程仅仅是绘图技法，需要您有一定的Photoshop软件应用经验。
　　
　　尽量使你的文件容量不超过100兆，这可以保证样你的计算机速度正常运行。将线稿扫描到电脑中，放到最上面面的图层，改变图层混合模式为Multiply，这样你可以始终看到线稿图层，着色的同时不会干扰这个图层。
　　
　
　　先在下面的图层绘制主要的线条因为这样就不会被上面的图层挡住，这就是我的绘图方式，可以看到，我是从黑色部分的阴影盒轮胎画起，阴影采用边缘模糊笔触，可以看到论坛只有外部轮廓是干净清晰的。你可以看到我同时在玻璃上增加了一些蓝色，内饰和尾部增加一些灰色。　　



　　使用路径工具，勾勒车体轮廓，银色是个不错的选择，这个颜色是用中度灰和一定的蓝混合而成。这个图层高于轮胎和玻璃色彩图层。组织好你的图层是很关键的。
　　
　　

　　现在准备细化你的设计。研究一下汽车照片或图片看看如何表现一定环境中的金属反光，Photoshop是个完美的工具，可以允许你向作品中增加一些阴影和高光。使用dodge工具可以加亮，使用burn工具是变暗。你可以看到我加亮汽车的侧翼部分，在中部最暗，并加了一点地面的反射光。这时你需要调一个大的软笔刷。
　　
　　
　
　　我开始绘制侧面玻璃和支柱，并加了一些亮光反射。你可以看到我加了一些暖色和冷的金属色调来协调。cool蓝色体现反射天空的色彩，暖色的褐色体现土地的颜色。尾灯和大灯，镜子，轮胎高光的细节都要尽量体现，使你的设计作品更写实。


　　
　　如果你设计了轮辐，可以导入到文件中绘制，我是借用现成的设计，效果图中的车辆要比现实中的大一点点。但是看上去大的车轮好像是设计师传统做法了。
　　
　　


　　
　　同时，橡胶部分很小也是使观看效果更好。至少可以提亮。细小的白色高光可以使得汽车反光。使用橡皮擦小心的擦去多余的线条。
　　
如果你想让车体后面有个背景的话，可以在玻璃上描绘一些颜色看上去像透过玻璃看到的背景，最后签上你的名字，当然不要影响整个作品的美观。



Tutorial: Rendering in Photoshop
  by Cor Steenstra
Introduction

During sketch development I find that I understand what I would like to 'sculpture' in my design from the section lines I draw as a base, as well as from 'leaving out' areas. However, if you want this to come across to the people making the decisions, you need something that stands out and jumps off the wall in a presentation.

Traditionally I would create presentation sketches by using the base sketch as an underlay, over which I would then draw the clean lines, and would put some marker and pastel on it to to express the 3D form. However, if you did this quickly, it would look too sketchy, and if you did it properly it would actually become an elaborate rendering and be quite time consuming. Another risk would be that in 'cleaning up' the linework, some of the character of the original concept sketch would be lost.

Without trying to take any importance away from traditional art methodologies, these days it is possible to use the original sketch to make quick and eye-catching artwork that not only represents the original raw design ideas to the max, but also does the job of jumping off the wall during a presentation. A good sell.

The following pages show a step-by-step process for quickly creating a presentation rendering...




Start by scanning in a sketch that you want to use. The scanner should generally be set to give an image size in pixels of 1024x768 to 1600x1200 (or larger) depending on your working screen size, and planned print size.








It doesn't matter if the car was sketched on excellent marker paper or on a napkin at 'In-n-Out Burger'. It only needs to be just the thing you like and you want to present. Import the scan into Photoshop, duplicate the layer, clear the background layer, and set the transparency of the copied layer to 35%. This way you can see the sketch, still have a white background, and make the underlay sketch invisible once you're finished.





Block in the basic colors with 200-300 size airbrushes. In this case the car was going to be red, and I like using the warm and cold sides of the real world in my sketches to enhance the sculpture. Apply broad strokes of airbrush, and then simply erase the areas that form the hard reflections manually. This gives a more spontaneous effect and is quick.




On a new layer again quickly airbrush the soft sky reflections, also here using the warm and cold colors. And again manually erase the overflow of airbrush. Set the eraser to Airbrush and use a 65-100 opacity. Working on a separate layer enables you to erase these areas with a large soft eraser brush, while leaving the hard reflection areas undisturbed, and all without any masking.




Similarly build up the warm and cool glass reflections on their own layers, using a large airbrush, followed by a hard-edged eraser brush to redefine the edges. Initially use the colors lightly, then duplicate that layer and erase the highlight parts of the interior off of the first glass layer. This way it seems you can look through the car, which enhances the realism.



This is the time to put the car on the ground. Make a quick path in the path tools menu, and adjust it to fit the area of shadow marked off in the sketch. In the path menu save this path, go to 'Make Selection' with a zero Feather, and go to the layer menu to make a new layer. On this layer you fill the selection with the background color you want, and here I have added a few brush strokes in different colors to add warmth.





Subsequently put in the wheels, so the car sits properly. You can usually color the wheels you had sketched, but for enhanced realism you can quickly take some wheels/tires rendered in Alias and use these. Also you can use images of wheels/tires from existing cars, but if these are very recognizable or dont suit your overall design it may not help you.



In the lower segments of the body sides and the front you may want to add some soft sculpture to enhance the expression of the vehicle. Simply make a new layer, and play with black and white soft airbrush, then alter the transparency of this new layer to get the desired effect. Again, using separate layers for each of these elements drastically reduces your workload, as no masking is required, and you can experiment safely without affecting underlying layers.


Again use the path tool to draw some clean cut lines on a separate layers.


For this project we wanted to use existing headlights to reduce costs, so you can make several variations with different headlights. On this example they obviously stem from a Mercedes-Benz.



You can also add the grille on a separate layer.


And add the corporate graphics to create the final result.



As you can see, it took quite a few layers, but that makes it easy to make corrections afterwards, and eliminates the need for masking. This color sketch took about 45 minutes, but this can vary of course depending on the level of detail.

Though I have clearly used the new digital technologies, the technique is built upon experiences I gained earlier in using vellum paper, marker and pastel. I think you have to go through this stage of traditional techniques before you can successfully 'optimize' your digital workflow and not end up with generic-looking 'impersonal' artwork. In that same respect, I use all of my clay modeling experience in making my Alias models. Again, being familiar with both traditional workflows and the new digital methods is something you 'have' to do to be most effective in your design work.


[ 本帖最后由 蜡相 于 2005-7-19 02:42 编辑 ]

boese

好像很困难
我从没做过，哪天试试

3ku

cool，下个月开始做做看