Making Textured Renders with a simple trick in Photoshop!

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In this video, I’m going to show you how to create this textured style image, and I’m using a perspective section to show you how. This may look difficult and full of advanced moves, but to be honest it all comes down to one trick in Photoshop. So, I’ve been testing some new techniques to create these textured images because I’ve seen a really cool reference online. I decided to create my own version of it and during this process, I’ve discovered a pretty handy blend mode in Photoshop that allows you to build up details and add texture to a basic-looking image. I’m using it to create this perspective section, but honestly, it can fit in any type of image. If you’re new here, I’m Oliver and I create content around Architectural Visualization and representation, if this is something you’re into, consider subscribing. Thanks to ConceptD for sponsoring this video. They sent me the ConceptD 7 Ezel to create architectural images and I’m really excited to see how this interesting device can enhance my workflow. So here I’ve got the model of the New National Gallery in Berlin by Mies Van der Rohe here. And I’m going to use Sketchup to export a line drawing. The whole process between here and the final steps in Photoshop took a little less than 2 hours. So I’m going to share with you the most important steps and that will give you a clear understanding of how to create your own version with your own project. In the 3D model, the crucial thing in creating the perspective section is making sure that the view is parallel to the section plane. All you need to do once the section is created is align to the view. That’s it. Then use the little hand to position it as you need. I’m going to align right here exactly on the glass panel between the inside and outside. Just before exporting, you can crop the view by dragging the side here. This is optional as you can always crop it later in Illustrator or Photoshop during the texturing process. But since this Sketchup feature is available here, I’m going to use it. We’re going to need two things from here. A PDF, and I usually only check this option only so that the file doesn’t get too big. And a clay render. I’ve gone over these steps a couple of times already here on the channel. I’m going to leave a video here on the cards or in the description for you to check out. But thanks to an NIVIDIA Studio graphics card I can get a fast preview using the real-time rendering in Vray, tweak all of the settings. Which was Override Material, Render output to Match Viewport, increase the image width and height. The quality was set to Medium +, which with the denoiser activated was more than enough, to be honest. Oh and take the glass out of the material override setting. Then for the final render, I usually use the CPU engine and not progressive. And having a 10th gen i7 on this laptop was really helpful to quickly render the final image. But just a quick note, this clay render is not going to be used as is, there’s a lot of tweaks to make. But I find that it’s much easier to correct it in Photoshop than to spend hours changing a thousand settings to fine-tune the render here in Vray. So we’re going to do it later in photoshop. Now, an optional step is passing the PDF file through Illustrator. Regardless of the 3D software or BIM software you exported the line drawing. There’s a high chance that the line thicknesses aren’t really the way you wanted. Often times they are way thicker than needed, messing up the details. Or the PDf can even come with too much information from a highly detailed model. If I have time I’ll delete the excess, especially duplicated lines or information that are too little for the overall viewport that we have. But then also try not to get too pick and fix everything, because that’s quite impossible and it won’t be viewed depending on the final scale and style of the image. I’m saying that especially to all perfectionists out there. I’ve wasted way too much time on this step in the past. Okay, then for the result I’m going for, where I’ll add textures to everything, including the cut fills. I’m changing the cut fill from black to a 60% grey or so. So that the texture does in fact appear later on. May not make sense now, but you’ll see in just a moment. And I also split the cut fills and lines into two separate layers using the Select, Same tool. And that’s essentially it here, it’s more of an organization and refining step that will help us in Photoshop. Oh, and it is here that I also like to set the overall size and aspect ratio, here in Illustrator. But doing in Photoshop also works fine. In Photoshop, and first things first, we add the Illustrator file with place linked option. If you’re a long follower of the channel you already know the many benefits of this, right? The ability to simultaneously use Illustrator and Photoshop. So that one updates inside the other automatically. I usually don’t talk much about specs here on the channel, but since I’ve got a new laptop with me. Memory, or RAM, is what allows you to have multiple programs open at the same time without laggings or crashing. DDR4 memories allows you to have this workflow with a 3D software, Sketchup in my case, Vray, Illustrator, and Photoshop all at once opened without any trouble. And that’s really important, I like to jump back and forth between programs to get the most out of them. Okay so moving on, now we import the Clay Render and match it perfectly with the line base. And to take your time here, as this will impact the final result a lot. And I’ll place it below the line layer, then let’s correct this image so that it doesn’t look like a render and can blend in with the drawing. A hue and saturation adjustment layer to make it greyscale. And then a level adjustment to change the values. Again same thing as I did in other videos. Essentially we’re trying to make the highlights pure white, and play with the mid-tones and shadows to find something that looks good, but also having in mind that we’ll add more texture on top of this so this can’t be too dark just yet, okay? I feel that what makes this image unique is the high contrast and intense texturing but still maintaining the legibility. Legibility is the key here, it can feel like a lot is going on, but the drawing still needs to be read and understood in full. Or else, it kind of loses its purposes, right? Okay now comes the step that changed the game here and will allow you to be more creative with Clay Renders in general, in any type of image to be honest. You can add a texture like this, like this cardboard texture, that will affect only the dark pixels, and since we added the levels adjustment and tweak so that the highlights got pure white. We’re basically adding the texture only to the shadows, taking it to the next level. I know this is kind of confusing, so instead of telling you, here it is. We’re going to change the blend mode of the texture. Usually we use “Multiply”, right? Or even overlay seems to work great here. Now let me quickly make this gray scale so that we can better visualize it. But the trick here on this step is to use Color Burn. This is really powerful. You may need to go back to the clay render levels adjustment and fine tune until the details show back up. And keep in mind that one texture or one intensity may not fit the entire image. So if needed, make duplicates and use masks to apply different strengths to specific areas. Then with all this texture applied and a high contrast style going on, the lines simply disappeared in some areas. So to sort of fix it, and what also adds some identity to this image. We’re going to invert the illustrator layer here in Photoshop with the shortcut Ctrl + I. Then with a mask to this Invert filter that was just created, I can tell Photoshop what parts of this line drawing will be black and what parts will be white. This look was inspired by one of the group meetings that we had over the course Creating Better Plans during the launch bonus. So thanks to Sofia Macluf, from Argentina for sharing her image. Now, I know, this step is more of a manual move, where you’re going to have decide depending on the background. It’s that simple, against a white background, I’m sticking with black lines and when it’s too dark, white lines. Use selection tools to help you cover larger areas faster. Listen, the drawing structure is pretty much done by this point. We now need to complement it with other assets, such as trees, people, and vehicles if that’s the case and so on. But we need to do it in such a way that fits in this style, or else it will draw too much attention. Let me show you the easiest way to do that. The trees, I googled for watercolor trees and spent something like 10 minutes gathering the perfect resources that I could use. And we’re going to repeat the same steps as we did with the Clay Render. Add a hue and saturation adjustment layer and then a levels adjustment so that we intensify the contrast. A multiply blend mode can certainly come in handy in this situation so we can get rid of the white background quite easily. Remember to use masks and play with the opacities to create depth in the composition. And the smartest thing to do is to place similar objects in groups and apply the adjustments to the whole folder if it repeats in multiple objects. Here it’s only the hue and saturation but for the people will be levels as well. But just before we move on to the people, let me take care of the cut texture that I mentioned earlier. Remember that grey fill that I changed to in Illustrator. I want this paper texture to only affect the line layer, so ctrl + alt + g to clip it directly to this particular layer. And here once again, “Color Burn” is the way to go. For the ground section, I could’ve added more texture, but I feel that the building needed to have it all, and then peripheral elements be more minimal, if you will. So I’m going to add a pattern. And since I’ve got Illustrator linked here, it’s quite easy to do that. I’m simply creating a shape in a new layer and going for the premade patterns that the swatches tab have. Depending on the size of your image, you might need to scale the pattern, just pay attention here to resize only the pattern and not the object together. Working in larger moves and applying effects to the layers and all objects at once is the smartest way to work, but sometimes you may need to fix stuff and do some manual work. So I often create one or two layers called fix to… well, fix stuff. Like here on the metal lining sides that is drawing too much attention, and this came looking like this from the render or also adding more drop shadow on this column here, and some other stuff that can pop up during the process. So a fix layer is quite helpful to have. Okay, now it’s time for the people cutouts. Go ahead and create a folder that will house all the people layers. I first focus on getting the overall composition right, you know adding them all correctly according to the scale, position, and use. And when I say use, I’m saying to remember to add them with intention, where there’s some circulation areas you could add someone walking. Next to a lookout place you can add people pointing and looking. I usually pay close attention to the color of the clothes so that aesthetically it matches what the image has. But in our case here that doesn’t really matter since it’s going to be all black and white. As you imagined add a hue and saturation adjustment layer to the folder, don’t forget to clip it, and do the same for the levels adjustment go for the high contrast look. Perfect! Two more things to do before the annotations part. One, I feel that this flooring needs to have a light fill so that it separates itself from the sky. So with the help of the render elements that came with the clay render, I can quickly create a selection on the flooring and do that. And then two, add a slight tint to the whole drawing. Add a solid color or fill a layer with a dark faded blue, or any color to be honest, and change the blend mode to color. Well, you can mix different blend modes actually. I tested here and Screen with a low opacity and then Color also with low opacity gives an interesting result. And then the last step, adding annotations. Usually, for a heavy workflow like this, a mouse, for me, speeds up the process, but being an Architect I like to have the possibility to sketch over things, and my style to the images I create. Having a separate tablet always felt like I’d be missing on incorporating more features into my main workflow. It’s over a 3D software, a base render, and photoshop where I can create something unique pretty quickly. So the possibility of adding hand-drawn things over a finished product like this, or even seamlessly incorporating this feature during the process is something that I’m really excited about. And different from a normal touch screen laptop, with the Ezel Hinge I can position the screen at pretty much any angle. So here I’m adding annotations with a complementary-ish color to create contrast in terms of color. But keep in mind that you can use multiple layers to test different color combinations. Even if I drew everything with this orangey color, I can add one layer on top of it, clipped of course, and fill it with another color. And that’s it! The result is quite stunning. It feels like a detailed render, but this result could never have been achieved only using a render engine. Photoshop enables that. I hope you found this tutorial helpful and learned something new. Let me know in the comments if you have any questions, as always I usually answer everyone. Thanks again to ConceptD for sponsoring this video. And you can expect more videos using it. I’m really excited about that. Links, info, and credits in the video description. And I’ll see you guys in the next one.
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Channel: Upstairs
Views: 268,641
Rating: undefined out of 5
Keywords: Upstairs, Learn, Architecture, Visualization, Representation, Photoshop, Clay Render, Vray, Sketchup, Architect, Section, Perspective, Textures, Collage, Noise, Grain, ConceptD, Ezel, Acer
Id: Kk0ckcQYlxM
Channel Id: undefined
Length: 15min 49sec (949 seconds)
Published: Mon Dec 27 2021
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