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Digital Rendering for Designers

Lesson 10 of 17

Rendering a Coffee Maker Start to Finish

 

Digital Rendering for Designers

Lesson 10 of 17

Rendering a Coffee Maker Start to Finish

 

Lesson Info

Rendering a Coffee Maker Start to Finish

all right for the kitchen blender. I just want to show. Remember at the beginning of this presentation, I was going to show you how we can Really? If we're working in a very large drawing and we need to scan it and we have a small flatbed scanner, how can we kind of tile up our work? Very simple. We go to file automate in photo shop, and we go to photo merge. A sub menu would come up. Click over here. You would just leave auto here on the top, click browse, and you would find the files that you would want to merge. All right. So holding shift, you can select two images and then click. OK, This Arturs cans off to different parts of the same drawing because they wouldn't have feet on my scanner. So I have these two over here. Click OK. And the algorithms in the computer in the computer program will actually work for you to blend the two together. You see? Very leftward in the old times. This would take you good. 10 if you're 10 minutes. If you were very good or half hour, if you needed m...

ore time, so remember the layers. Remember the masks that we had worked on before? It does it for you automatically. How good is this? Um, you see, 1/2 on the other half. It combines it together. Then you can go here on the top and say flatten image, and then you can go. This is my crop tool crop crop. This looks good. Black arrow here on the top. Say crop. I am liking it. Then I go to layers flattened. I need toe a little bit. I already flattened. Um, I did it too fast. So we have these over here. You can go here on that tiny icon that is very easy to miss. Click there and says merch visible. And then this is my crop tool. I would crop top and bottom to work with the levels. We already know how to do that, right. Levels to get a good black. And we know we already know how to de saturate. All right, so we have, Let's say, um, we had the blender sketches before. We're gonna work in a coffee maker here. A similar concept we have. Let's imagine now this is where the fun begins. We have learned already all the preliminary elements. Now it is time to really get ourselves going. So we have. We have a drawing over here. I added a black line to add my background than I have to views the front and the side view. Let's add some color to it. First, I would have to double click on the background layer to release it and call it background, which is. Actually, I should have called it line work because that's where I have my lines. Layer one, which I kicked over here to make it. I'll dragon below and I'll double click on it. This is how it should be. Background layer below and I'll dump white on it. Pure white again. Click here, make sure you drag it all the way to the top. This is my paint bucket pinned Duggan and painted in white. So I have a white background. I have my line work, and now let's make here a new layer and I'll call it 12 Now it is time to add to have some fun with this, and I'm going to start from the ah from the early steps. All right, so color one. I made a clicked over here to make a layer to make a mask. And I would like to mask out everything. That is not really an object. In order to expedite the process, I can go back to line work my magic wand. I'll select the background. I have a tolerance of five pixels, which is OK, but I'd rather have it in 10 10 pixels. So I'd like to start all over again. Control de for de Select. You see, it picks it up better. But hey, what happened there? Right. There is a little gap over here. So, um, remember the the analogy of the water on the container, right? We have a little gap over here. We want to close that gap before we use the magic wand. So I would want to go to my brush over here on your presets. I already have some pencils. Like, for example, this pencil over here. You close out that shape. This is a digital pencil, but it works equally. It works really well. So I have this outline here. Now let's go to the magic one. You see the difference now? We didn't have that outlined kind of seeping into the object. So right now, I have to say, just selected, Um, and I would like to before I do anything else I'd like to go to select, modify, expand two pixels. I made the selection slightly bigger so that it would be I would have my selections straddling over the black line on When is women a lot? Do you see how the ages appear here in the middle of the black line without doing that? This is before I did that. This is after we see the difference between the two ages again, this is like going to the optometrist before and after what looks better right? We want this controlled zero to zoom out. So we have that and we want to mask that. All right, so I have that selection, but I will jump into my next layer over here. Instead of clicking here. I want to click on my mask and click. Um, let's see delete. So I now have everything masked out unless tested. Control D for D Select. Let's begin a big brush, soft brush, but super large. Let's pick a color. Um, it's a like a reddish tone over here. Oops. Wrong approach. I was painting on the wrong area instead of panting on the mask. I need to paint over here, all right. Spending in black noting red. I wanted red. Right. So let's go back to read. Nice. So we're starting to add color and you see, I can pain freely. Um, and it always catches the edges, but hey, what's happening here? We have We lost the lines, Remember? We need to go to instead of normal. We need to go to multiply. Very important. Once you click that, remember, multiply allows you to see your layers in a transparent mode so you can see everything that is stacked up on top. Very important. I probably overdid my red. I want Teoh work up it less with that red. So maybe I just This is how I would just work with it, you know, pick my red. A red. That would be less intense. And maybe I can clean up. Ooh, that's not a good color. Let's speak of something that would be more red. But Les brown, but maybe less intense. Maybe I want to reduce my capacity. Do I like this? Do Why not. Oh, now it looks very door, but this is starting to look interesting. I like my top like the top there. This is just to get a general tone of color, which it's always advisable to do. Just a general tone. Now, um, I want to mention how we can work with her own brushes in for a shop. Um, we have over here, let's say you have for very a good set off presets, but let's say you want to work on your own. Um, you have a light brown marker right that you think you'll be using. It's making the layer over here just to test things out. All right, that's looking good, but you want to make it your own. So I know I'm gonna be using, for example, this tone a lot, and this brush is going to have I'd rather change it and maybe use it more like this. This is my brush. Once you have something that you like the size and everything else you can click over here all the way in the top on this wheel, say, new brush preset. And then that would be your new brush. You would give it a name? Brush spatter Jorge. And now you. I would have my brush over there. Um, and I should be able to find it. Where is it? Um, we should have been saved. But that's how you would do it. No brush preset. Um, he would give it your name that way. All right, so now let's work in more detail. One thing that I would really like to show is how we can change very quickly your different colors. We have worked with a different selection tools. Let's imagine that I would want to have my, um, Jaar over here. My picture in a different color. Right. So what I can dio I was need to have my base caller over here, my lasso tool. I can just pick this. Remember, I am on this layer. I can go to image adjustments, hue and saturation. The shortcut is control. You and I can change the color. I want this to be more bluish. We're blue. So let's increase the saturation. Oh, that's my blue right there. Slightly lighter. Something like that. All right, so this is a very easy way to work. Changing colors. For example, if I wanted to make the top more metallic control de four d select. You can select your areas here again. The shortcut would be control you. I would like to de saturate it. So now I have the handle in gray week. Okay, Control zero to zoom out. Let's say I want the body off this container in a different color. You see, the shape is close. Top. This might take me a while to select. I might just want to go to the magic wand. So I want to go to the line work and just selected. I have tolerance of 10. That works good, but I want to expand that selection. Modify, select, modify, Expand. I'll go three pixels. Okay, so I have a bigger size now. Bigger area. I'll jump into color area. My space bar, remember, would allow me to move. This is an interesting trick. Your whole shift. I want to add to the original selection, holds shift and then start adding and then remove shift. And then I would be able to add to that original selection. Let's make a mistake. Whoever selected that, how do I decent like that without losing what I have done already. Clicking old I D select, sir. Nearest. So I click once and then I release. All right, so I have the bottom part of my coffeemaker here. What I would be doing now is control you for my shortcut and change my saturation. And then Hugh, whatever color I would want. All right. So this is a very fast way to work. Um, for example, for the background. I don't like this colorists. I would want to holding shift. Select This too. Again. Filter. This is what I would go faster. Modify. Expand two pixels. So I have that background selected. That color that I do not really like. I can paint on top if I want to. I would just go to an air brush. A brush that I like something like this. What if I would want to have it in black? Right. Dark read tone. It's starting to look good, you know, something like that. Darker may be on the top. Something like this. All right. My buttons. Do I like them the way they are? Not too sure. I'll go to the polygonal lasso tool. I can select them quickly. Remember to close the shape, right? Double click. What's triple Click? Um, go back once I'd like to in this case, paint over. I'll make the brush slightly smaller. Who looks good on like that. Control zero. Um, polygonal lasso tool. Let's select this area. Double click to close the shape. I'll pain directly on top. That looks good. Control zero. Now let's make this a bit more chrome. It really needs to show more the chrome, so I'll go into the line, work and select this area. But I'll go to again. Filter. I mean select modify, expand three pixels. I almost love it. Holding shift on the ones and then release shift. Whoops. Triple click. I only want to double click, so I have this area selected when I show a different trick. Now, when you want to work in an area that is selected, these are called the marching Ants in photo shop. What you want to dio ISS hit control H for Hide the area still selected, but it's hidden from view. It's an interesting concept. It's there, but it's not. Um, sometimes when I render having the outlines selected are it's kind of distracting, and you see, I can paint on top with that area with that area. Kind of hidden from view. Okay, so that's looking more like a metallic reflection on like that. Now, I'd like to paint in white over here. Um, it's looking good. Let's increase the opacity now and create some interesting reflections there. How come I cannot paint over here? What's going on? Hey, remember, Control age to show this election control age. Once it hides from view, you click again. Control age. It shows. So it hides and shows. But it's the same shortcut back and forth. Control de would de select. All right, so you see, now it looks more metallic, more interesting, right? And it still looks kind of free hand and interesting. So you want to keep it that way? Um, if you want Teoh Magic wand over here for the blue, it looks to blow. I need to work more on this, but I didn't select that bottom. What happened there? I can hold shift to select extra. All right, so that's my green. I like that. Remember, the Dodge and burn Dodge would get into lighter tones, which you want. Oh, I like that very much. You see the airbrush very soft. That's how glass should be, Right? And then I can burn. Maybe a shadow over here burn. But I don't want to use that tool I'd like to use. I'd like to use burn somewhere here. You see him adding a shadow. At this point, you would have to squint to see if you're doing a good job just to see if you have enough contrast. Sometimes it's hard to see what you're doing. Um, just because you are working in small increments in for a shop, remember, when you do dodge and burn, you have to work between these three shadows, mid tones and highlights. Just to get the right effects between one and the other. Like something like this. Control zero. To see the overall effect who that's starting to look interesting. The handle. I'd like to pick it up quickly using my and really gonna lasso tool, double click, triple click. I can go back over here, which I already did by default by, um, I'd like to add texture. We already know how to do that filter, filter gallery. I'd like to add some that texture that we had used before worked out just fine. Um, how much of it we need to use then we would have to work with a different settings here. More or less cake. Okay, maybe something like that. All right. You see, now it looks more grainy, more interesting. Um, let's see much. Uh, polygonal lasso tool. It's dark in this area here. Article click. One more time. This is so sensitive. Oh, it was still selecting things. Zoom out. Control D. Okay, so now we're back. I can dark in this area. Burn. I can burn it. Burn, baby burn. Right. So you go a little bit darker like that. Um, So you see, the masks over here allow us to work really freely and do very good results. We can get results very fast now, whatever. We have a plight on this one. We can apply it on these two. So it's the same technique. All right, but I'll continue rendering this one a bit more. So we have holding shift. Let's select the base in purple. For those PC users, though it's important that when you work with shift, you hold shift on the ones. Andi, do not hold it for more than eight seconds because you might look up your your keyboard. So just be careful about that whole shift and then release. All right, let's burn this year's this side over here, remember, of the marching ants is they're just starting a distracting to you control age. You would hide from view. You can also work with a different exposure, maybe less of it, but this is a very quick way to work.

Class Description

Life-like renderings are an essential part of the planning process for many design projects. In Digital Rendering for Designers, Jorge Paricio teaches you how to use Photoshop and Sketchbook Pro to create life-like representations of environments and objects.

Jorge’s academic and professional life has centered around artistic rendering and perspective sketching. In this class, he’ll show you the basics of architectural visualization and how software can help. 


You’ll learn:

  • The process – from the first sketch to the final rendering
  • The role of Sketchbook Pro in designing 
  • How working with Photoshop layers, filters, and masks can help
  • Techniques for adding people and lighting sources to scenes
You’ll learn about perspective drawing and depicting a variety of surfaces. Jorge will cover the basics of rendering interiors, exteriors, products and exhibit booths.

Lifelike renderings are used in corporate and public design processes – find out how to add this in-demand skill to your portfolio in Digital Rendering for Designers with Jorge Paricio.


Software Used: Adobe Photoshop CC 2015 , Autodesk Sketchbook Pro 2015

Reviews

Gigi
 

This is actually the course I was looking for. This is DIGITAL rendering, which in an odd way makes you appreciate hand drawn rendering. Great! Thanks!

Heather
 

awesome!