這是一篇來自大神Alex Hogrefe關於PS經驗的博客，小編覺得這是一篇從美學角度出發去分享關於【天空】到底要怎麼樣呈現才會更真實的文章。

從如何分辨場景需要什麼樣的環境，如何選擇合適的，都有新的看法，所以分享給大傢看看。接下來展示的要點希望可以帶來啟發，當然在實際情況中總會出現不一樣的限制，還是一句話，設計靠感覺，靈活應用才是關鍵！

（因為是翻譯，可能會有文字出入，下面有英文版本可以具體分析哦）

在大多數情況下，天空可以成就或破壞一個建築插圖。這也是我看到很多人在渲染中忽略或隻花瞭幾分鐘的地方。問題是，一個好的天空會為圖像設置整個基調。

正因為如此，這是我進入Photoshop後的首要任務。我花瞭不少時間在網上梳理圖片，以找到最適合我的場景的圖片。通過下面這些不同的圖片，你會看到從僅僅改變天空到情緒和色調的轉變。

在尋找完美的天空時，我有一些想法可以參考。應該指出的是，這些是指導方針。在架構可視化中，有許多不同的場景和情況可能不適用這些技巧。然而，我發現這種情況很少見，所以我幾乎在我創作的每一張圖片中都遵循瞭這些想法。

1.避免飽和度過高

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過度飽和是經常碰到的一個問題。在網上看到的許多天空圖像都有這個問題，因為天空被放大瞭，變得更加引人註目，吸引瞭觀眾的註意力。然而，過多的天空色彩飽和度會壓倒建築和地面的色彩，破壞插圖的層次結構。為瞭解決這個問題，我進入“圖像>調整>色相飽和度”，我移動“飽和度”滑塊到左邊來移除一些顏色

2.避免不自然的天空顏色

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不自然的顏色帶來瞭類似過飽和的問題。非自然的天空顏色會從一開始就使整個圖像脫離，使成功的構圖變得困難。不僅如此，它創造瞭一種“ps”的外觀，而不是與建築和地面的和諧。由於有許多漸變和色調，我更喜歡找到另一個天空而不是試圖改變或固定不自然的顏色。然而，如果我真的喜歡雲的形式或圖像的紋理，我有時會降低顏色的飽和度，然後使用不同的天空的顏色覆蓋在上面。

3.避免雲朵占用太多

盡管你可能喜歡雲，但過多的雲會影響圖像。簡單地說，他們把所有的註意力從建築上轉移瞭。然而，在分散註意力和引人註目之間有一條微妙的界限。我傾向於喜歡多雲的天空，但是我會通過降低顏色飽和度和淡化細節來稀釋圖像，這樣紋理會更柔和。一個簡單的方法是通過尋找一個沒有雲彩的天空，隻有顏色，並設置它為基礎天空。然後選擇多雲的天空，將這一層設置在剛剛著色的天空的頂部，並降低不透明度，使雲讀起來更輕

4.光源的錯誤方向

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這是一種情況，當你看著一幅圖像時，有些東西看起來不對勁，但不清楚哪裡出瞭問題。然而，一旦光源問題得到糾正，圖像讀起來就會有顯著的改善。這也適用於其他ps過的元素，比如隨從的陰影和樹木的陰影。所有元素的光源越相關，那麼整個圖像就越容易被理解為一個連貫的插圖，而不是一堆經過ps的元素。

5. 正確的透視關系

這個想法是重要還是不重要取決於觀點。然而，如果天空顯示瞭正確的透視，那麼顯示深度的場景讀起來會更好。在上面的例子中，雲幾乎沒有透視，這意味著當它們向遠處退去，接近地平線時，雲的規模不會改變，這使得背景看起來更加平坦。

6.元素簡單點

你不需要總是顯示雲彩。有時，完美的漸變就是為一張圖片設置正確的色調所需要的一切。這一舉動創造瞭一個平靜的場景，並有助於突出建築和地面。

最終效果

我最終選擇的天空是一個多雲的有藍色口袋的天空。這使得我可以突出從左邊來的陽光，並給整個圖像一個戲劇性的由亮到暗的漸變。我使用技巧#3中描述的類似過程組合瞭兩個不同的雲圖像。我找瞭一個沒有雲彩，顏色很好的天空，然後把它和多雲的天空結合起來。通過調整多雲天空的不透明度，我能夠在顏色和柔軟度上達到良好的平衡。

處理完天空後，我就用顏色疊加放大瞭暖色調和冷色調，並在圖像的基礎上增加瞭更多的陰影。所有這些動作都有助於將觀眾的註意力從圖像左側移開，然後慢慢移到右側，越過橋，移到右側的火車上，模仿行人走過的路線。這樣，我使用瞭從天空開始的光線來幫助講述這個項目的故事。

原文

I can’t believe that I have not written a post about skies yet on this blog. In most cases, a sky can make or break an architecture illustration. It’s also something that I see a lot of people overlook or only spend a few minutes on in their renderings. The thing is, a good sky sets the entire mood of an image. Because of this, it’s my first priority as soon as I get into Photoshop. I spend quite a bit of time combing through images online to find the perfect one for my scene. With the different images below, you will see how much the mood and tone shift from just changing out the sky.

I have put together some ideas to think about when looking for that perfect sky. It should be noted that these are guidelines. There are many of different scenarios and situations in architecture visualization in which these tips may not apply. However, I have found that to be rare and I follow these ideas in almost every image that I create.

1. Avoid Oversaturated Color

Oversaturation is an issue I see often. Many of the sky images that I find online have this problem because the sky has been enhanced or amplified to be more dramatic and catch viewers attention. However, too much color saturation in the sky will overpower the colors in the architecture and ground plane ruining the hierarchy of the illustration. To fix this, I go into “Image>Adjustments>Hue Saturation” and I move the “Saturation” slider to the left to remove some of the color.

2.Avoid Awkward or Unnatural Colors

Unnatural color brings with it similar issues as oversaturation. Unnatural sky color can throw the whole image off from the start making it difficult to pull off a successful composition. Not only that, it creates a “Photoshopped” look instead of looking harmonious with the architecture and ground plane. Due to the many gradients and color tones, I prefer just finding another sky vs. trying to alter or fix the unnatural colors. However, if I really like the cloud forms or texture of the image, I sometimes will desaturate the color, and then use the color of a different sky overlaid on top.

3.Minimize Overly Busy Skies

As much as you may like clouds, too many will hurt the reading of the image. Simply put, they take all of the attention away from the architecture. However, there is a fine line between distracting and dramatic. I tend to like cloudy skies, but I will dilute the image by desaturating the color and fading out the detail so that the texture is softer. An easy way to fade the detail is by finding a sky with no clouds, just color, and setting that as the base sky. Then take the cloudy sky, set that layer on top of the just-color sky, and lower the opacity so that the clouds read much lighter.

4.Wrong Sun Direction

This is one of those situations where you look at an image, and something seems off, but it is not clear what is wrong. However, once a light source issue gets corrected, the image reads dramatically better. This holds true for other Photoshopped elements such as entourage shadows and trees shadows. The more that the light source of all of the elements relate, then the better the entire image will read as a single cohesive illustration instead of a bunch of single Photoshopped elements.

5.Look for the Correct Perspective

This idea is more important or less important depending on the view. However, scenes showing a lot of depth will read much better with a sky that shows the correct perspective. In the example above, the clouds have almost no perspective, meaning the clouds don’t change in scale as they recede into the distance and get closer to the horizon which causes the background reads much flatter.

Don’t Be Afraid To Go Simple

You don’t always need to show clouds. Sometimes, the perfect gradient is all that is needed to set the right tone for an image. This move creates a calmer scene and helps to highlight the architecture and ground plane.

The Final Image

The sky I ultimately chose was a cloudy one with pockets of blue. This allowed me to play up the sunlight coming from the left and give the overall image a dramatic light to dark gradient. I combined two different cloud images using a similar process as described in tip #3. I found a sky with no clouds and great color and then combined that with a cloudy sky. By adjusting the opacity of the cloudy sky, I was able to zero in on a good balance of color and softness.

Once I had the sky, I amplified the warm and cool tones using color overlays and added more shadow at the base of the image. All these moves help to start the viewer’s eye on the left side of the image, and slowly move it to the right over the bridge and to the train on the right, mimicking the path pedestrians take. In this way, I am using the light started by the sky to help tell the story of the project.

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