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Digital Rendering for Designers

Lesson 15 of 17

Rendering Interiors using Photoshop

 

Digital Rendering for Designers

Lesson 15 of 17

Rendering Interiors using Photoshop

 

Lesson Info

Rendering Interiors using Photoshop

in this last phase, I am going to show you how to render an interior. For those of you who are architects for interior designers, this is a great tool to use to render. So what you see here is a couple of examples and the same way that I have worked in my previous examples healthy construct everything so that we can see how I got this one done as well as my next example. And then finally, I'll show you how we can start a rendering over here from beginning to end. Right? How we can get really a good rendering done from the very early colors to the final highlights in this living room example again, the same thing. I started working with a good scam which is this one here and now. One thing that I have to say. I don't You remember? Probably when I was working with my different selection tools, for example, the magic wand and I would big certain areas, right? Sometimes you use the you use thea line work to select your areas and then while I selected you jump into the color layer and paint...

there. But I can tell you. It happens to me all the time. Sometimes I forget to jump players from line work or in this case, layers here. I forgot to rename it to my color layer. If that happens, it's OK. The only thing that you would have to do at the very beginning off you're working for a shop would be to duplicate your line work layer. How do you duplicate a layer? See this guy here? I have it selected. This layer click and drag over there on that creates a brand new layer. So this is your insurance policy. In case you forgot to jump players, you always have a brand new line work layer with nothing on it. And you make in the intention off, keeping it always de selected, so you will not touch it. If you think that you're going to ruin it, you can always lock it highlighted and then add a little lock over there so that you know you will not be able to give any of you touch it. You will not be able to mess around with that. All right, so now that we have that cleared away, this is, um so far we have learned a destructive and nondestructive way of working. You would know the answer to this one. Is this destructive or non destructive? Well, you guys cannot. I cannot hear you say it, but I hope that you would have said destructive. Right. Okay. Which means you have a background color and you add on top without adding new layers. All right, so keep that in mind if you want to and thread everything one step at a time, what would you have to dio work with new layers? And you know how to do that already? You click here on the bottom and you make a new layer. You rename it every time you work with a new color. So if you don't like something, you can trace your steps back. Okay? What I did over here, though, to get myself started. I'll get into this later. Which is you know, this is these are the textures. Very fun to do. I'll get to that in a second. How I got this started its name, it caller test. Um, I chose a blue tone. Two blue tones slide on dark. Then I went over here. Radiant tool. Then I added my radiation and you would know already if you were paying attention, you would know what's happening here, right? Do I have in a multiply or not? Not on multiply so go to multiply. And now I can see the black lines. This is one of the most asked questions. Hey, I don't really see the color. I don't see the line work I lost a chances are that you didn't get a multiply. All right, so I have my base color over here. If I wanted to change the ceiling, you see how the ceiling is lighter? In my example, this is how I did it. I have my base color. I went to my polygonal lasso tool and then I outlined it. Double click. Whoa! I did my triple click one more time. Okay, If I you click escape, it goes back to the previous one. Good thing to know, um, control you. That's my shortcut for hue and saturation. We covered that already. We can go into a lighter mode. That looks good. Control de for the select. Okay, so now we have the sailing a little bit lighter. Let's see what else I did over here. You see, the floor has a different cholera all together. Let's do that. Go back to my color test. I would go. At this point, we have two different ways of working. You can go with your mass. You can use your masks. You know how to do that already. Or you can use your lasso tool or different selection tools. We have covered them all. And, uh, this is when you would have to spend some minutes choosing your floor. I mean, picking up your floor little by little. All right, so somewhere. Okay, so we have the shape selected. If you want to add to the original selection again, hold Schefty and then release shift. And you see that little plus sign over there? You're adding to the original selection. So I added that control zero to zoom out so you can see the whole thing on, then control you for hue and saturation. Or you would go under image adjustments, hue and saturation. And over here, I just change the hue. Okay. He was more like a brownish tone. Somewhere here. Less saturated, a little bit brighter, something like that. All right, so now we have three tones, and I started with the bass tone. It's very easy to years, very fast. And to be honest, you can do a lot off this work exactly. Working this way with your lasso tool, picking different elements, you can work super fast that way. If you really want to use your brushes to make it look more often, um, marker type of rendering, then you would have to use the brush. And remember, you have are presets. Um, you would be able to pick them from that list. Um, or you can just make your own over here. All right. You have some good ones all the way on the top, that look already like markers. And, um, I just want to make sure that I am on the new layer. Do I want to make a new layer year list? Why not? Normal multiply, and you can add your tones that way. If you don't like multiply in this case, I don't. I can go to maybe caller dodge or soft light stuff light. That would be better, since it is a brand new layer that is affording me the option, really erasing it, something that we did with the car. Remember the windshield? The dark of reflection. Since they wasn't on layer, you were able to really touch it up just beautifully. Remember the beginning of this presentation? Have we were work. I was showing you some examples with the masks. You can do that too, in this program. Right. So what I have over here ISS, this, um sofa, this sectional sofa and everything is kind of masked out. So let's deconstructed first thing that I will dio will be too ad to my mask. Let's make it. That's mask that out with a more generous border. Remember the brackets to make it very large, right? All right, So what I'm gonna do over here, Let's pretend that I do not have that control A to select all. And I would just go ahead and erase the color so I don't have anything. I have my mask and then I have myself of that. I want to paint. What should I use the airbrush or a brush tool? Let's use the airbrush over here. And now I just need to pick the color that I like, Maybe something like this. Let's turn this on something like this away like that. That's a nice color. Um, I am still on multiply if you want to show the texture again. Remember, the beginning of this class high was using the backpack and the sneakers with some texture. Right? Everything goes in a big circle, still can be applied the same knowledge in an interior we can go to filter, filter gallery. And we would just have to find the right filters, usually under texture. You can get good ones under texturizing her. We have burlap or sandstone. Let's go, Morgan. Canvas, Scripture canvas. You see, we got the texture over here. Very fun. Um, you see, this is without this is with without and with. All right. Remember how we were using in our backpack and shoe my airbrush to hide some of the texture? You can do that, too. Over here. Okay. All right. So that's how I got that done. And you see, over here I have my would tone. This is my floor, and I was able to stretch it to fit it. How did I do that? The way I did that. Wes, let's start from the very beginning and see how I got it done. It's making the layer over here. Let me work. First thing that I would do would be to, um, go to adjustments. Image, canvas size. Let's make it a lot larger. by 25. It didn't go to 30. I need to have a large canvas and you'll see why I can add a rectangle here and failing with color. I'll work very quickly on this because I have another example that I have to show you color. Obviously, that's blocking everything else. So let's go to multiply. Good. So now we can see it. The next thing that I would dio would be to um, I'll go to filter filter gallery instead of canvas. Um, let's find a different one. Grain. Look at that. Um, you can choose vertical or horizontal. This works really well. All right, let's go. The grain. Let's make the grain horizontal going that way. Sort of multiplying this Go lighter color now. Um color dodge. No. Um darkened. Yeah, I like that better. Let's go like that. The next thing that I will do would be to edit. This is the fun part. Go to transform, distort. And this is why I needed to make it very large. I take these edges and moving around so that it fits my perspective. Look at that. All right. The I was kind of running out of space over here. Let's stretch that out more this way. More this way. Now you understand why you needed to have such a big, um, image. Right? So I have that click apply. And now I have my border done beautifully. The next thing that I needed to do was just to mask our departs that I did not need. Which is the sofa, the every rug and the low table There. All right, so we can make a new mask over here, and we already know how to do that. Right? So I don't need to show it right. You can mask. I am not erasing. Remember, I'm clicking here on the mask. I can mask out the areas that I do not want. All right. If you think it's hard to see which I think it issue can reduce the capacity Still click here in the mask, not under trying, but on the mask on. Mask out the areas that you do not want. You can change the size of your brushes, and magic will come to you. All right. I will not do the whole thing. Just a couple of corner so that you can see what's happening here. Let's increase the capacity now and we would be in good shape. If you want to crop that, we don't need all that space. We can go back to this size and crop the rest out. That's the crop tool that I can is the same one as the other computer program. And we have this. You see how I was able to mask these areas here, but not the rest. It would be just matter of masking the rest out.

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!