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.
