椅子 – 室内设计作品制作与渲染流程

The Chair – Interior Design

作者:Eduardo Souza



Hello everybody, my name is Eduardo Souza and I am a professional 3D artist from Salvador, Bahia, Brazil. I graduated in Multimedia Digital and am passionate about cars, and it was for this reason that I plunged into the sensational world of 3 dimensions. I come here to share the process of creating a personal work I call ‘The Chair’. The main objective was to create a portfolio scene for my website and also to use it as a study of lighting and texturing. I had in mind to create a scene that was both simple and beautiful so I decided to make an Eames Wooden Chair. After searching the internet for lamps, I found the DIY Industrial Wooden Desk Lamp very charming and decided to put that in the scene. Hope you enjoy!


大家好,我叫Eduardo Souza,是一名来自巴西巴伊亚州萨尔瓦多市的三维艺术家。我出身数字媒体专业,热衷于汽车,这成为我投身美妙三维世界的动力。本文中我将与大家分享个人作品“椅子”的制作过程。主要目的是为我的网站创建一个组合场景,同时学习一下灯光和材质。我想创建了一个既简单又漂亮的场景,所以我决定制作一个埃姆斯木椅。在网上搜索了很多灯的图片之后,我找到了非常好看的工业生产的DIY木质台灯,并决定将它放入我的场景中。希望你喜欢!

It was that lightbulb moment!








In 3ds Max, space gamma default is 1.0 but the monitors are calibrated to gamma 2.2 space. So we need to adjust our software and rendering engine to work in the same space with our monitor range and this is referred to as LWF (Linear Work Flow) so I enabled Gamma correction settings / LUT.


在max中,gamma的默认值是1.0,但是显示器的标准gamma值是2.2。所以我们需要调整软件和渲染引擎去适应显示器的范围,这被称作LWF(线性工作流)所以我勾选了Enable Gamma/LUT Correction(译者注:Rendering—Gamma/LUT setup)。


Early configuring of the scene






The modeling process was simple, highlighting the beautiful DIY Industrial Wooden Desk Lamp I found particularly beautiful and decided to put it in the scene. It became the object I gave more attention, sought by several references to be the closest possible representation. The tissue placed on the chair and curtain were made in Marvelous Designer and exported into 3ds Max to make adjustments. Doors, walls, windows, floor and plinth were also modeled with special attention since it was a small scene. I paid special attention to give extra quality while modeling.

 建模过程很简单,我把我之前发现的很漂亮的工业生产的DIY木质台灯放到了场景中,并重点突出它。我在台灯上花了最多的功夫,找了尽可能多的最接近的参考。椅子上的纱巾和窗帘是在Marvelous Designer里做好再导入max中进行调整的。由于场景很小,门、墙、窗户、天花板和柱基也做的很细致。在建模的过程中,我尽量让模型多一些细节。



he key is in the details





The scene was simple to model, so I had more time to work on the textures. A diffuse texture was used in the Falloff, and I reduced the blur of the Bump texture to 0.5 to sharpen it without using Displacement – all because I wanted to keep the render times fast.


On the wood texture, I used the same diffuse texture, with color correction in the texture and Reflection and Refl. glossiness activated in the Fresnel reflections. The same applies for all types of wood material in this scene.

 制作木质材质时我使用相同的漫反射贴图,并给漫反射、反射和反射高光加入色彩校正(color correction),激活菲尼尔反射(Fresnel reflection)。这个场景中所有的木质材质都可以这么做。


Adding textures





For the lighting of the scene I had initially imagined night light – I even did some tests – but I decided that it would be more in harmony if I made it daylight: clean and clear. Then, to illuminate it I used VRaySun to mark the sunlight on the scene and VRay Dome light for global illumination – one VRay light in the window to generate the influence of external light, and another light in VRay for artificial lighting…

我一开始设想的场景布光是模拟晚上的环境——我甚至做了一些测试——但是后来觉得做成白天会更协调:干净、清晰。我使用VRaySun来模拟场景中的日光,VRay Dome模拟全局光——一个VRay灯光在窗户的位置,产生外部环境对室内的影响,另一个是人造光源…




The sun is in the East




I used a VRay physical camera and the general settings can be seen in the images. I configured the value of F-number to 4.0 and the value of the shutter speedpara to 50, leaving the scene clearer and sharper. I also set up the white balance to daylight, leaving the scene with more natural light, so the scene was not too yellow or blue.

我使用了一个VRay物理摄像机,基本设置从图中可以看到。焦距比数(F-number)给到4.0,快门速度(取倒数)(shutter speedpara)给到50,使场景干净利落。我还会将白平衡(white balance)给到白天(daylight),使场景有更多自然光,而不会偏黄或者偏蓝。



My render settings were very simple as shown in the picture. As explained above, I rendered to VRayFrameBuffer and enabled Gamma Correction, which is known as Linear Workflow. I used the Color Mapping Reinhard burn value to 0.2 to compensate for the F-number of the camera. I would like to remind people that render settings are specific to scenes and copying exact settings can cause either excessively high rendering times or poor quality, so I would advise everyone to test some parameters in your own scenes and set your settings individually, for each scene may be able to have greater quality or faster render times.

如图所示,我的渲染设置很简单。正如之前所说,我使用VRayFrameBuffer 渲染,并依据线性工作流进行gamma校正。Color Mapping的类型(type)选择Reinhard,Burn value改为0.2来补偿相机的焦距比数。需要提醒大家的是,渲染设置是依据场景而定的,单纯复制参数只会使渲染时间过长或渲染质量很差,所以大家最好在自己的场景中进行测试、设置参数,这样可能会得到更好的渲染质量,或更短的渲染时间。

When the magic happens



Post production


I did the post production in Photoshop CS6 and basically made some corrections to Contrast and Brightness. I also reduced by 20% the Saturation for the image to look more realistic. Additionally, I made some corrections to the Curves and Levels in part of the scene and a light touch of Glow. To finish, I applied a chromatic aberration to look like a photograph.


Making it more photorealistic





I will appreciate any comments and criticism, so do not hesitate to send me your opinion on my scene or simply rate it.


I would like to thank the 3DTotal team for asking me to write this tutorial for the 3DTotal website – your website brings me so much and it has become one of my favorite references!


That’s all folks! I would like to thank my family, friends and all of you who support my work. It is with great pleasure that I share this ‘Making Of’ with you! Thank you very much 3DTotal team!





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