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Digital Rendering for Designers

Lesson 7 of 17

Using Selection Tools in Photoshop

Jorge Paricio

Digital Rendering for Designers

Jorge Paricio

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Lesson Info

7. Using Selection Tools in Photoshop

Lesson Info

Using Selection Tools in Photoshop

all right. In this next face, I am going to be working with a bag. Um, so that I have a quick reminder off how we can work with different selection tools in for a shop. This is more into the basics of for sure, but it's perfectly applicable to what we're doing here. All right, so, um, we have another go quickly to review this. We have the line work over here. Nothing has changed over here. My polygonal lasso tool goes over here. You would be like, Well, I don't find some of the tools that I have in for a shock. How come all these icons over here have little triangles over here? You click on them and voila. You have more sub selections. Uh, under So you click over here. Sometimes the pain can be tricky. Might not show the whole thing. That's when I would revert to the mouse polygonal lasso tool polygonal lasso tool would allow you to pick in a polygon shape polygonal shape, right. So control de for diesel. Ignore for example if I wanted to pick it, say this area here I can go from point...

to point selecting my area and you see how in this case you're saying my Santic tablet, I would have a much easier time selecting everything instead of having to use my track pad or my mouth's. One thing that I want to mention here, when you use the polygonal lasso tool is tricky. You have to aim the you see when you hover over the end. It shows that little circle that means that your closing up the shape or you can dio tick, tick, double click and it would close the shape. But if you do a triple click, you would lose the shape, so this could be frustrating. All right, Double click. It was just two clicks. If you do a free trade 1/3 time, he lucid. So just be careful about that. If you lose a shade that took you some time to select, you can always go here. And, uh, this is your history, Graham Pellets. You can go back into your history and you see I am I am finding all the pre selections, all the selections that I was working on, one more thing that works with all this election tools in for a shop, but we just have to make sure when you go here, feather is very important. If you want to have, like, a soft selection, you can do like a very raw selection with zero pixels is like sharp. Um, like a knife. Sharp right is very sharp, but you can also have a soft edge. That's when you adjust your pixels. Right there. We have a feather of four pixels, which is what I want to use soft edges in my renderings. So the magnetic lasso tool. It's another way of working. Um, so what I have over here? All right, let's see. This is my magnetic lasso tool, and you just need to hover over the area, and the computer will identify the edges that you want to work with. This is the time saving techniques for sure. You see, Triple click, and I lost my shape. I can always go back here and say, Hey, I clicked Escape. I can bring back my shape. There you go. All right. So you always have that option. If you lost that selection that works really well at this point is very important. When you work with the magnetic lasso tool to have as much as possible. It's to control D for D. Select as much as possible. Your shapes closed up. You see, there is a little gap over here. That should be all right. But it's better that you have your shapes when you work initially by hand. Did you close your shapes with your pencil? As much as possible. All right. That brings us back to the original sketch that we would be doing by hand. This is just tracing paper. This is what we see on the computer screen. All right, So, as much as possible, you might want to use with pencils to close up your lines nice and tidy. If you don't think you can do this in just one sitting, you can always use more tracing paper and refine your search. Your shape, one layer on top of another right on. This technique will help you a lot on the next face. The next phase would be working with a magic wand. Oops. Before I go into the magic one very quickly, I'll go into the lasso tool. The lasso tool is just a free hand way off picking up your area. You would just last for whatever you want to select, obviously using the pen you tell it better than having to use your mouse to select your areas. Very good technique to and again. All of these work with different feathers. You can choose your feather how soft the edges need to be. The magic wand. It's one of the favorite tools to use when you work with your different shapes when you want to call her things. And this is very important now. Remember how I had mentioned that whenever you do your sketches in pencil, you want to have as much as possible your outlines perfectly close up? Why do we do that? Like, for example, if I wanted to paint this area, you see this area is closed and it would pick up just that area. You see, there is a little gap over there. Luckily for us, I added a black line here to close it. But now let's let's ruin my design. All right, let's see. Let's pretend that I did not close that area Magic one arrow signifying trouble. Oh, I just want to select that area if I go with a magic wand and I tried to select this. Imagine that you have a container, that you want to fill it with water and the container has a hole in it. No matter how fast you try to put water on it, the water will come out of the hole. Same thing happens here since the shape was not closed. The selection kind of spells out until he finds the right boundary. You see, kind of picked up all these and all that and all that Not good. That's why it's better to just close your shapes as much as possible. If you think you're going to color them later on, this shows you just how we can work with the lasso tool, which I just reviewed before, right. You can just very quickly pick your shapes to render. All right, we would pick that, and then we would add color, which is what we're going to be covering on the next space

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



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!