Arch 100b 2014 Spring

Course Arch 100b
Date
Learning Objectives Describe the learning objectives for this class session here, in narrative form. What concepts will you discuss? What skills do you want students to acquire? Try something like 'In this workshop we will introduce...' or 'After this workshop, students will be expected to be able to...'
Agenda
  • Agenda Item One
  • Agenda Item Two
    • Agenda Item Two Point One
    • Agenda Item Two Point Two
  • Agenda Item Three
Uses Tool(s)
Week 12 Photoshop

Arch 100b 2014 Spring

Course Arch 100b
Date 2014/04/18
Learning Objectives This workshop will give you an advanced post processing skills with Photoshop
Agenda
  • Hotkeys
  • Mask layer
  • Effects control
  • Texture
    • Grass
    • Glass
    • Material
  • Entourage
    • People
    • Tree
  • Final retouching
Uses Tool(s) [[Photoshop|]]

HOTKEYS

Rendering tutorial Page hotkeys 1.jpg Rendering tutorial Page hotkeys 2.jpg

Rendering tutorial Page 01.jpg Open the raw rendering that you produced in V-Ray. This is a 3-point perspective. This is not what you will be doing, this is simply a workflow on the processes and steps to take in order to achieve a good rendering through photoshop.

Rendering tutorial Page 02.jpg We now want to place the rendering in a context, here we will use a field. It is important when photoshoping grass or any type of greenery that you get an image at a perspective. I usually just google what I need in images and find a high quality file, download, and open into photoshop.

Rendering tutorial Page 03.jpg Move the field layer below the raw rendering

Rendering tutorial Page 04.jpg Crop the image to get rid of the watermark.

Rendering tutorial Page 05.jpg Adjust the levels of the field layer to match the raw rendering with the image you have selected. Remember try to get close, but it does not have to match perfectly at this moment as it will change as you layer more textures and effects on the image.

Rendering tutorial Page 08.jpg Use the polyline selection tool to select the ground of the raw rendering. Make sure you close off the polyline to be able to fill with black.

Rendering tutorial Page 09.jpg Once you fill in the selected area with black, you are now able to select the inverse and create a mask for the desired layer. The usage of masks is important because it allows the alteration of the image without effecting the original image.

Rendering tutorial Page 10.jpg Mask the layer.

Rendering tutorial Page 06.jpg To integrate the field with the raw rendering, use the clone stamp tool and change the paintbrush to the grass icon.

Rendering tutorial Page 07.jpg By clicking the folder next to the brush style it opens a options menu that allows for the rotation of the brush and the amount of spacing inbetween each stroke.

Rendering tutorial Page 11.jpg Use the clone stamp to soften the edges of the rendering and make the render and field more cohesive. Change the size of the brush according to the perspective. Deeper into the perspective the smaller the brush, as opposed to the front which will be bigger. To easily change the size of the brushes you can use the square bracket key on the keyboard.

Rendering tutorial Page 12.jpg Use the clone stamp tool with a round brush to integrate the rendering into the hill of the field.

Rendering tutorial Page 13.jpg Now the background image is too vibrant and distracting to the actual project. Add an effects on the field layer to alter the image without actually affecting the original image. The icon is demarcated by a half circle shape at the bottom of the layers menu.

Rendering tutorial Page 14.jpg Once you get the levels correct hit “ctrl+alt+g” to apply the effect on only the layer below. You can also alt+click to copy the effect to another layer. Just place it above the layer that you want to have the same effect.

Rendering tutorial Page 15.jpg To soften the sky, delete the existing sky from the field texture using the polyline selection tool, and import a lighter, less intense sky.

Rendering tutorial Page 16.jpg Find secondary details that give a sense of depth (background, middle-ground, foreground). Here we will add trees in the backdrop to ground the project.

Rendering tutorial Page 17.jpg Place the image of the trees on the bottom layer behind the field. Apply the same effect to this layer to match the levels of the field. Use the eraser tool as needed to soften the edges of the image.

Rendering tutorial Page 18.jpg Repeat the tree texture across the horizon.

Rendering tutorial Page 19.jpg Import the make 2d lines into the rendering to give another level of detail. The 2D lines allow the drawing to move away from a hyper-realistic style of rendering. You can use the make 2-d lines to specify parts in your projects that are more important.

Rendering tutorial Page 20.jpg When placing the make 2d lines into the rendering, align a point in the rendering that you know matches the line. Add an anchor to the point by clicking alt+left-click. This allows you to scale the drawing without moving the make 2d lines consistently.

Rendering tutorial Page 21.jpg


Rendering tutorial Page 22.jpg Duplicate the make 2D layers to darken the lines.

Rendering tutorial Page 23.jpg


Rendering tutorial Page 24.jpg Rendering tutorial Page 26.jpg Lower the opacity of the entourage to avoid blocking off details of the buildings. The entourage is used to give a sense of scale, not to overpower the image itself.

Rendering tutorial Page 27.jpg To add shadow, use the burn tool and carefully brush in the shadows for the entourage.

Rendering tutorial Page 28.jpg Now that the image is placed in the context and the entourage is placed, we can start enhancing the different types of materiality in the project. First, as previously discussed, remember to render the image with material ID as an option.

Rendering tutorial Page 31.jpg

Rendering tutorial Page 32.jpg Using google images again, type in the type of material you want. Here the material can be a repetitive flat texture because we will manually change the perspective of the material swatch to match the perspective of the rendering.

Rendering tutorial Page 33.jpg

Rendering tutorial Page 34.jpg With the area selected click back on the layer of the material swatch and add a mask to hide the rest of the image.

Rendering tutorial Page 35.jpg Test out different layer effects. Each rendering is different and will use slightly different layer effects. Pick an effect that speaks about your project and portrays what you want to show.

Rendering tutorial Page 36.jpg Apply the other side and keep in mind the perspective.

Rendering tutorial Page 37.jpg This is the image before final retouches. As you can see, the project itself starts to blend too much with the context.

Rendering tutorial Page 38.jpg Create a new layer and hit “ctrl+alt+shift+e” to merge all visible layers onto the new layer. This is important because you want the after effects to affect the entire image.

Rendering tutorial Page 39.jpg Duplicate the merged layer and apply the hard light layer effect.

Rendering tutorial Page 40.jpg Now apply a high pass filter on the image the make the rendering pop from the context.

Rendering tutorial Page 41.jpg Lower the opacity so that the image is not so abrasive.

Rendering tutorial Page 42.jpg Now selected the area which will be glass using the polyline selection tool.

Rendering tutorial Page 43.jpg Overlay the area with a glass texture from google.

Rendering tutorial Page 45.jpg Apply a mask to the glass texture layer.

Rendering tutorial Page 46.jpg Apply layer effect and lower the opacity to get desired glass effect.