The Art of Poser and Photoshop- P6 pps

5. Now is time to apply the finishing touches to the landscape. You’re going to add some more clouds so that they look like they’re coming out toward the camera into the foreground. This will give the scene a stronger sense of depth. Simply duplicate your cloud layer several times and use your Warp and Transform tools to alter the shapes, as shown in Figure 3.7. The Art of Poser and Photoshop: The Official Guide138 Figure 3.7 Transform your cloud layers As you place each cloud layer on top of one another, the scene begins to take on the appearance of mist coming toward the viewer. Use your layer masks and your paintbrush to edit each layer to get your own concept of what the cloud bank will look like, as shown in Figure 3.8. Keep in mind that your results will be slightly dif- ferent from what you see here; however, the concept is the same. When you’re fin- ished, save this file as background.jpeg so that you can use it as a backdrop to import into Poser. Creating the Light Goddess in Poser Pro In this section you are going to construct the light goddess by posing a 3D character in Poser Pro and editing the UV map used to create the skin texture of the model. When posing your character, you can select a body part and use your mouse to reposition it. However, you might find that the Parameter dials make this task a lot easier at first. Once the initial pose is set, you can manually fine-tune the adjustments with your mouse. Play with this and develop the workflow that is best for you. As a result of the work in this section, her body will glow with light and energy will flow from the palms of her hands as she rises above a coastal landscape. 1. Access the figure library and open the Sydney G2 model, as shown in Figure 3.9. 2. As you edit the UV map, you need to be able to see how the textures are being applied in Open GL. (Open GL allows for the the ability to see textures as accurately as possible in the native 3D space without actually rendering them.) So, make sure that the Texture Shaded option is selected for your Poser model (see Figure 3.10). 3. When you are creating in a 3D environment, it is very helpful to actually be able to see the background in your 3D interface so that you know how the final scene is going to be composed. Go to File > Import > Background and select the back- ground.jpeg file that you saved in the previous section. This image is also in the tutorials/ch3 folder. When the dialog box opens asking if you would like to change the window to match the background, click Yes (see Figure 3.11). Chapter 3 ■ Posing and Perspective 139 Figure 3.8 Duplicate and add a mask to each cloud layer The Art of Poser and Photoshop: The Official Guide140 Figure 3.9 Open the Sydney G2 model Figure 3.10 Apply the texture shaded mode Figure 3.11 Import back- ground image 4. So that you have as little distraction as possible, click on the ground plane in the 3D scene and access its parameters. Make sure that the Visible, Cast Shadows, Collision Detection, Visible in Raytracing, and Display Origin options are all des- elected. In addition, turn off the Shadow option for the character. See Figure 3.12. Now you can pose and view the model without a lot of visual distractions. You should see something like Figure 3.13. Chapter 3 ■ Posing and Perspective 141 Figure 3.12 Make the ground plane unviewable 5. It will be very helpful to pose the legs without the inverse-kinematics constraints, so deselect that option for the both legs. See Figure 3.14. 6. The Posing camera will always move and rotate with the model as the central point of focus. You will use this camera quite a bit when posing and animating your fig- ure, so select it for now. See Figure 3.15. Figure 3.13 Poser figure with background 7. Use the Translate and Rotation tools to rotate the model approximately 45 degrees to the right and position her slightly off-center toward the right portion of the frame, as shown in Figure 3.16. 8. Select the right thigh and apply the parameters as shown in Figure 3.17. Remember, try using the Parameter dials for the initial pose and then fine-tune the adjustments with your mouse. 9. Next, select the right shin and apply a 93-degree bend, as shown in Figure 3.18. The Art of Poser and Photoshop: The Official Guide142 Figure 3.14 Turn off the inverse- kinematics constraints Figure 3.15 Set the Camera mode to Posing Camera Chapter 3 ■ Posing and Perspective 143 Figure 3.16 Rotate the model 45 degrees Figure 3.17 Reposition the right thigh 10. As the character is a rising above the coastal landscape, the joints should reflect the natural movement of the body. Using your Parameter dials, you are going to set the direction and the angle of the feet and toes. Using Figure 3.19 as an example, apply the parameters shown for both the feet and the toes. The parameters are shown in Figures 3.20 and 3.21. The Art of Poser and Photoshop: The Official Guide144 Figure 3.18 Bend the right shin Figure 3.19 Posing the feet Chapter 3 ■ Posing and Perspective 145 Figure 3.20 Parameters used to pose the feet Figure 3.21 Parameters used to pose the toes for both feet 11. To give her a sense of balance, as if she’s hovering in the winds above the landscape, you’re going to rotate the hips in the upper body in opposite directions. This will create a sense of counterbalance that is necessary as she floats up skyward. To achieve this effect, select the waist and the abdomen and apply the parameters shown in Figure 3.23. Also, use Figure 3.22 as an example of what you’re trying to achieve at this point. The Art of Poser and Photoshop: The Official Guide146 Figure 3.22 Results after applying the parameters for the waist abdomen 12. As she is floating in the winds, her left arm is going to extend outward with a burst of energy emanating from the palm of her hand. Keep in mind that the left arm is not going to be the first joint in the body that will extend movement. The move- ment will start in the left collar and then extend toward the left arm. So start by selecting the collar. Use the Up – Down dial to set the motion to 13 degrees, as shown in Figure 3.24. 13. Next, you’re going to pose the left hand. Select the Hand camera and open the parameters for the hand so that you’ll be able to view the controls for every aspect of the hand. With these you can apply parameters to each of the digits on the hand to include the ability to make a fist. These controls also include the ability to spread the fingers apart, grasp something, and bend. Use Figure 3.25 as a guide. Use what you have learned and pose the right arm and the right hand as well. Use Figure 3.25 as a guide, but feel free to apply some of your own ideas as well. Figure 3.26 shows the final pose of the character. Chapter 3 ■ Posing and Perspective 147 Figure 3.23 The parameters for the waist and abdomen Figure 3.24 Apply Up – Down adjust- ments to the left collar [...]... of how perspective lines are used to fake the appearance of a three-dimensional object The top and front-right sides of the box in this example are created with the use of the yellow lines The front and top sections of the box are defined by the red lines and include the beveled edges for the window seals Everything 156 The Art of Poser and Photoshop: The Official Guide Figure 3.38 Box created using... Change the blend mode to Overlay for each of the light textures Then apply a layer mask to each one Using the paintbrush, isolate the effects of the yellow textures to the highlight regions of the body and do the same for the blue textures but isolate them to the shadow regions of the model Use Figure 3.48 as a guide 4 Zoom into the face so that the eyes fill the scene Select your Pen tool from the tools... locations In the 28mm example, the perspective points fall a lot closer to the product As a consequence of the lens being placed close to the box, the lines that define the shape of the box distort the shape itself In the 50mm lens example, the perspective points move farther away In this case, note that the horizontal lines that define the top and bottom edges of the box converge on one another with... less angular severity So, the box will appear less distorted 158 The Art of Poser and Photoshop: The Official Guide Finally the 100mm focal length shows how the perspective points move even farther away from the product Because the left side is at a greater angle to the lens of the camera, its vanishing point extends far beyond the canvas Notice that the angle of convergence to the vanishing point is... The clouds body.jpg file is also in the tutorials/ch3 folder 150 The Art of Poser and Photoshop: The Official Guide Figure 3.28 Alter the look of the Clouds texture 3 Go to the Material room By default, you will see the texture map for the Sydney G2 figure You are going to disconnect the current map and replace it with the clouds body.jpg file Click on the connector for the Diffuse_Color setting and. .. complete the sense of rhythm and movement Play with motion blur to get the look and feel that you think best fits your image 164 The Art of Poser and Photoshop: The Official Guide Figure 3.51 Apply golden highlights to the body of the light goddess Figure 3.52 Create additional cloud movement with the use of the Warp tool and a motion blur Chapter 3 ■ Posing and Perspective 165 Adding More Lighting to the. ..148 The Art of Poser and Photoshop: The Official Guide Figure 3.25 Apply the pose parameters to the left hand Figure 3.26 Completed view of the posed character Chapter 3 ■ Posing and Perspective 149 Adding Texture to the Figure Currently, the surface of the character reflects that of human skin The goal is to create a character that has light emanating from and pulsating through her... circular nodes into the desired position, which in this case is in the lower left and the lower right Position your lights and then establish the color by clicking on the Light Color controls below the 3D Light Controls shown in Figure 3.35 The Open GL environment shows instantly how the light will affect your 3D model 154 The Art of Poser and Photoshop: The Official Guide Figure 3.35 Create the lighting... 3.45 The Render Dimensions panel 160 The Art of Poser and Photoshop: The Official Guide Integrating Poser and Photoshop Let’s go back to Photoshop where you created the initial landscape and bring in the rendered character 1 Save your layered document so that you will always have the original Next, flatten the document and save it with another name so that you will not disturb your original Duplicate the. .. 3.55 166 The Art of Poser and Photoshop: The Official Guide Figure 3.54 Apply the gradient behind the body as well as behind the raised hand of the light goddess Figure 3.55 Apply the gradient in a long rectangular format Chapter 3 ■ Posing and Perspective 167 4 To assist with the streaking effect, add some motion blur and make sure the angle is 90 degrees, as shown in Figure 3.56 5 Use the Perspective . angle of the feet and toes. Using Figure 3.19 as an example, apply the parameters shown for both the feet and the toes. The parameters are shown in Figures 3.20 and 3.21. The Art of Poser and Photoshop:. Photoshop. The second one, which is listed on the bottom of the PoserSurface panel, is the map dis- playing lighting and bump details as they appear on the model’s surface. The Art of Poser and Photoshop:. object. The top and front-right sides of the box in this example are created with the use of the yellow lines. The front and top sections of the box are defined by the red lines and include the beveled