Skip to main content

Digital Rendering for Designers

Lesson 6 of 17

Using Filters in Photoshop

 

Digital Rendering for Designers

Lesson 6 of 17

Using Filters in Photoshop

 

Lesson Info

Using Filters in Photoshop

All right. So in this sample, what we have is a pair of shoes, and, um, I'm going to be working as well on filters. This is another option that it's available in photo shop again. We worked with the same thing. We have a background that we should be painting in white. That's usually the standard we have white to work with. We have the line work, and then we have some interesting filters that we have applied over here. So let's start. It's analyze that step by step first. I have my leather. I went online and I found a piece off leather that I wanted to use in this particular example. All right. The second face would be we already know how to do that. We played with filter, Remember? Um, over here. Filter lens correction. Remember how we got that on the bulging? Okay, I'll click. Cancel over here and also file, actually edit, transform, warp. I don't remember this. We would just take this and then stretch it until we get a sense of weights going. All right? Okay. I don't want to play. An...

d then, of course I have my mask. I have worked with my brush to add to the mask so that I want to make sure that I only have that texture applied to the tip and nothing else. If you want to do like a very, very good job, you can always do me. And as much as you want, you press the space bar and you can see everything in detail. Another shortcut that you want to use when working with your brushes if you want. If you do not want to go all the time all on the top over here to reduce the size of your brush a good shortcut would be to use the brackets that are to the right of the letter P open and close bracket will make your brush bigger or smaller. So you see, I can get very tight edges over here. And if you hold the space bar, you pan around your drawing so you can do like a very tight mask very quickly. All right, this would take two seconds to Dio You get the idea right? If in the past when I was holding that my finger on X to go mask or removing mask in this case is holding one finger on the space bar so that I can work very fast with it. All right, so you get the idea. Zoom out, control zero. You get to see the whole thing. So we got the mask. The next face over here would be This is quite interesting here. Masks. So far, we have learned how to work with masks in black and white, You add or you remove to the mask. But you also can work with the masks in different capacity levels. So you can also also almost like using an airbrush and filtering the mask out slowly. So that's wonderful. Let's learn how to do that. So what we have over here is again my leather. What I'm gonna do here would be to just show you how this mask you supplied you would be like, Ah, I don't quite understand what's happening there. Well, you see the mask, it's apply to the whole thing. Whatever you're seeing. Red, this masked out. But then you have a very soft area here showing the texture of the leather Onley on that area. Why would I want to do that? That decide if I want to add for example, a special filter. Um, you see, when we work with, when you see a natural object, you see texture. This is called an aerial aerial perspective in Renaissance Times, for example, if you would have a portrait off Mon Eliza or somebody else, right, you won't have the portrait like very, um, sitting down like very straight looking at the painter. And you would have a wonderful landscape behind the landscape usually would have in Tuscany, the rolling hills right disappearing in the horizon. And as you go deeper in the horizon, you lose detail because it's further away from you. That's exactly what we're doing over here. We have more detail on this corner over here. This just paint. Uh, let's just pick a color so that you would see it. We have more details over here because it is closer to us. So we're masking out the detail in my copied leather over here. So how did I do that? By just using again on airbrush In this case, they used a very soft hair brush, like so sighs. Maybe 266. Reduce the capacity and you see I can block out my leather show even less. All right, so I click on the back slash button, and then it shows even less off this. You see him turning it on and off. This is slightly more defined darker. All right, so this is an interesting way of working with my filters. All right, so this is another filter that I have worked with. This is my mask. I'm showing you the mask for the full set of shoes over here. How did I add this call over here? What I did could This is my mask. And you know already how to do that, right? You zoom in what you can use his first years of very large brush. I like two years thes guys here on the top. And you see my brackets, I can go big or small. You see, I'm kind of missing it up right now. Um, you can add to the mask or clicking X. You reduce you, you add or remove the mask. Right. So you have this one here. Once this is done, your max is perfectly done. Remember, you can zoom in as much as you want and work with your brushes, big or small. You already know the shortcut to add or remove to them. Ask you to get a very crisp edge. Control zero. Use him out. What you do is you go back to the color and this is a very fun part. You go to the brush tool right here on your pick. The very soft airbrush. Very large. I like to work with, um, little opacity of the beginning. Well, that's very large. Let's reduce it. We don't need it. We don't need to make it so large. Something like this. Then I add very soft passes off color, you see, and you can paint the whole thing. All right, let's do an experiment. Control a to select thing everything. And I deleted the color. Let's increase increase the capacity so that the camera can see. You see, we can add very quickly color to the entire thing. And I don't care where it goes because I have added the mask to block everything out. So works really good. You see, if you want to make a very soft rendering soft meaning that it's not perfectly defined just yet. You see how beautifully it works Over here. My mask with the leather. I am showing the leather, but not on the rest. So it looks soft and just beautiful. If you want to show, it may be a little more, you say. Well, yeah, Maybe I just went a bit too far on this, You can add. Look at that. You can add to the mask. We can reduce the capacity you can say, Yeah, I want to show a little bit more over here. Click X. No, maybe a little less. Over here, you are in control at all times of how much you want to show by adding or removing. All right, so this won't get you very far when you work with your different with your different colors. Um, remember to mask every single part that you want to work with in a separate layer. Remember how you work with a new layer. You click over here and you create groups over here creating a layer you can hover over the different icons, and the computer will tell you what you're about to do. All right, so this is exactly what I have done for, um, All right, let's now for the rubber. All right, so we have here the same thing with the robber. Let's just review it one more time. The process I have started, I'm asked out May area for the rubber soul over here. We already know how to do that. And then I went and painted instead of just are painting the whole thing carefully. I just dumped. Imagine that you had a bucket of color and you dumped black on the entire thing. How he was able to get lighter tones over here. What's not really painting it, but actually modifying my mask, which is another interesting concept you see over here how I was able to get that lighter tone simply by just going to my mask and adding or clicking X right. You can see how am actually showing my line work. I am mortifying my mask. Um, but the color is still remains. I'm not touching the color. I'm only working on the mask. All right, so this is a very interesting concept. If you want to see how this would be looking in real life, you click on the back slash button and then you don't see the red mask anymore. So there is another way of working again, right? You add or remove areas to the mask with your different capacities. This is very important. Keep the capacity and check always more or less. And this is how I got this area down over here. One more thing that I need to cover with the class would be Teoh work with extra filters. That's another layer off information that we want to cover. All right. So far, the shop offers a very good range off filters. Um, which are placed over here? Filter gallery, filter, filter gallery. Remember that. And it opens up. It feels like you lost for a shop. You didn't. You just opened up. And no sub menu. You can work with different textures. No, this would be a horrible one. Or even this one for a shoe. It wouldn't work. But just have fun exploring your different filters here. All right, so in this case, we can go for maybe texturizing her, or we can go to artistic. You can get some film grain. For example. If you wanted to show like a very raw, um, rubber, you can use this one click. Ok, you see the filter that I applied there. It looks very good. Um, do I want to do something about it, or do I want living like that? Does it really show? Like how rubber would be like a very raw type rubber, like showing, really? The raw texture. Well, this works really well so far, But maybe I went. Maybe I don't want to show so much. These dots, you can continue. You can add more filters to your initial filters. So what you can dio is go again to filter instead of clicking filter gallery. You can go here and blur, and we have lots of options here you can play with them. Goshen Blower, for example, would allow you to soften that texture if you want. If you do not want to show it as intensely, you can choose how many How much would be the radius modifying your pixels here and you can actually zoom out to see the overall effect, more or less. All right, so we can do or something like this so you would have a texture, but not so much in your face. We don't want to see the raw pixels as much control zero and you see the look softer, more interesting already. One thing that I want to mention, though, when you create new layers with information, this is very important. Make sure that you make a note of it. And it is actually on the packet that I have discussed with the class. And we just reminded very remind you all very quickly here. If you go to a new layer where he said, um, you need to make sure that they you would go into multiply. All right, where would I have that? Um, make sure that you click it while it's over here and make sure that you're going to multiply, which is what does that mean? Issue? Go here. You select the layer or the group of layers that you want to work with and then click on multiply. But does what that does is the same thing with this. Instead of normal, we go to multiply. All of those multiply. What does This allows you to work with transparent layers, So whatever you work on top, you will still see your black lines shining through all the color. So this is very important to know. All right, so what we can do actually is holding shift. You select everything here, and you can just go to what he would not let me. I would just have to go one layer after another. You would just have to make sure that you click here, make sure that they are on multiply. All right, all of these, and multiply. All right, let's review this very quickly. The different selection tools that we have. Well, this is another example. And then we'll go into selection tools. So this is again the shoe, and we have a bunch of steps. My first step again would be to imagine that I would need I'll go much faster over here. We have a fabric that I liked the Internet, and then I brought it in, and then I modified it so that it would be larger. This is 100% capacity, so let's turn the line work layer off. So this is just my texture. The next thing that I did wes chest to work with the filter lens correction. Remember that filter, um, lens correction. And then we would go to edit transform warp. Okay, um filter lens correction. Remember that? Okay, so we worked with those two until I got a shape roughly off what I needed. Which is this one here? The next one. The next step that I did was chest to block out the area that I wanted. We already know how to do that. Let's open absence. We already know how to do that. Let's open up the line. Work, layer. So you see, it fits exactly in the area that it needed to call We needed to cover. You see, I have multiply selected on all these layers. Very important that we do that the next face that I did the same thing that we have covered before Waas two years, you see, Um all right, let's do one thing. Here's that we can see better. This is just a trick for the camera. We would not really have it in green, but, you see, let's imagine that we would have this color right? When I show them, ask in red, decide the areas that are blocked out. You see how I blocked out this texture from my insole over here? All right. Everything in readiness masked out everything that his green is theatrical texture. So it works really well Now let's go back to control you and bring it back to the color that we had roughly before somewhere here. All right, So you see it. We can get We can actually paint over the texture. So now one thing that I want to say before we wrap up this section would be when you work with your layers and your filters on your masks, you don't want to make your rendering your digital rendering. Look to digital, too. Kind off technical. You want to leave it like a very artistic field to it. So I don't know if you can tell here the brush strokes that I used, they're not airbrushed and soft. You can actually see the brushstrokes to get my highlights here. So I'm asked that out. Not using this air brush tool, but going over here and picking one of these tools. And again, you can work with the size, all right. And you're different capacities. All right? So you can make it more interesting that way. I was working on the wrong layer. Your C You can make it more kind of lose more interesting control. Zero to zoom out. You can make it more interesting visually that way. One less step on the process. Why, this is more interesting. Why is this more interesting than this one? What happened from this step to the next one? You see, I added some shadows. The way to do them would be to again. This is my mask. I didn't touch this mask now, but instead I worked on the texture itself. So let's zoom in a little bit. I am going to introduce a new, um, tool over here, which would be over here. This is called the Burn or the Dodge Tool. Burn ghost darker Dodge Ghost lighter. So I went into the burn tool again, using a brush that would be more artistic size roughly here on the only thing that I did was just to burn my color. Let's do like, um 21 over here. You see, I just paint over it. I am really painting. I'm burning the color, and you can also go instead of highlights. You can go meet. Tones would be a little bit different. You see, it burns differently where you can go to highlights. It burns differently or shadows. Shadows would get into the color it would burn into a very reach rich color so you can choose between the those three types over here, and you can jump back and forth between those on top of changing the exposure, and you can get that wonderful results. So all this is in the packet. Play with this. In case that you mess up. One thing that you want to do is copy the original file a bunch of times and rename it so that you would be able to play at will without really ruining the original design.

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!