The Art of Poser and Photoshop- P7 ppsx

6. Change the gradient’s blend mode to Hard Light to give it a better sense of trans- parency as well as to accentuate the effect. Duplicate this layer and use the Free Transform tool (Ctrl+T/Command+T) to position light streaks so that they appear to be spilling off in a circular direction from the model. See Figure 3.58. The Art of Poser and Photoshop: The Official Guide168 Figure 3.58 Apply the gra- dient streaks around the perimeter of the model Give the Goddess Wings 1. Go to the tutorials/ch3 folder and open the left wing.psd file. Place this image below the light effect layers so that glows appear to emanate from the wing. Use the Warp command (choose Edit > Transform > Warp) and distort the wing so that it extends forward from behind the light goddess. Next, apply a smart filter (choose Filters > Convert to Smart Filters) to the layer of motion blur to give the wing some move- ment. Use the mask associated with the smart filter to restrict the effect to the upper half of the wing. See Figure 3.59. 2. Following the instructions in step 1, add a wing to the left side of the character. See Figure 3.60. 3. Let’s add some hair to the character through a custom brush that you will create in Photoshop. You are going to create a brush that will make straight hair (see Figure 3.61). If you clump straight hair together in your hand and take scissors and cut it and look down at it, what shapes do you imagine you would see? You would see a series of little circles. So, create a new file that is 2×2 inches and has a resolution of 100 PPI. Chapter 3 ■ Posing and Perspective 169 Figure 3.59 Create the wing and apply a motion blur and smart filter Figure 3.60 Create a wing for the other side of the character Using the paintbrush, lay down a series of dots and make sure that your foreground color is black. Photoshop will use black and white information to create a brush from any shape where black is the color that Photoshop will designate as the shape. Figure 3.62 is an example of the brush used for this exercise. The Art of Poser and Photoshop: The Official Guide170 Figure 3.61 Create the straight hair brush Figure 3.62 Stroke thumb- nail view for the straight hair brush in the Brushes palette If you go to the tutorials/ch3 folder, you’ll see an ABR file entitled hair brush.abr. This is the custom straight hair brush that you can load into your Brushes palette if you do not create your own. Simply go to your Brushes submenu and select Load Brushes. Navigate to the folder and load hair brush.abr. Photoshop will ask you whether to replace or to append your current brush preset file. Make sure that you select Append, which will simply add the brush to your current set. 4. In this step you can use two techniques for creating the hair. One technique uses the Smudge command to smudge the existing hair that was created by Poser. When you use the Smudge tool, it is easier to apply the technique directly to the layer that the hair is applied to. Notice on your Options bar, under the Mode drop-down menu, you have the Lighten and Darken options. If you use Lighten only, the brighter pixels will be affected by the smudge. The same is true if you choose Darken—only the darker pixels will be affected by the Smudge tool. See Figure 3.63. Chapter 3 ■ Posing and Perspective 171 Figure 3.63 Apply the Smudge tool with the straight hair brush 5. You can also use the same brush to continue to apply hair. Use the sampling tech- nique (whereby you select a color from the image and apply it using the hair brush). To do this, simply hold down the Alt/Option key to automatically switch to the Eyedropper tool. Select the color on the hair region of the character and release the Alt/Option key. You have now sampled that color. Now use the hair brush to paint in the strands of hair where you would like them. You can add color highlights to the outer edges of the hair to give the effect of rim lighting, producing a glow along the edges. Just set the blend mode for the brush to Color Dodge, select a lighter value of brown, and paint along the edges of the hair to apply brighter and more luminous highlights to the hair. Conversely, use the Multiply blend mode to apply deeper tonalities in the shadier regions. See Figure 3.64. The Art of Poser and Photoshop: The Official Guide172 Figure 3.64 Apply color with the paint- brush using Color Dodge and Multiply as blend modes Adding the Finishing Touches Now you will add finishing touches—the greenish glow projected by the energy com- ing from the palm of the goddess’ hand. 1. Create a custom gradient that begins with yellow and ends with a green hue. Create two new layers directly above the light goddess layer and give these layers a blend mode of Lighten. See Figure 3.65. Apply a circular gradient and position it over the right half of the model as shown in Figure 3.66. Use the Transform tools to alter the shapes of the color so that they extend the entire length of her body. Next, associate these layers as clipping paths to the model so that these color high- lights will be restricted to the form of the light goddess. Feel free to add in yellow highlights along the outer edge of the right side of the model. Figure 3.66 also shows an additional layer with the yellow color added to accentuate the edge highlights as well as the surface of the wing to give it some warmth. Chapter 3 ■ Posing and Perspective 173 Figure 3.65 Adding high- lights to the body 2. To improve upon the composition, use the same wing image used to create the orig- inal wing composition to create an extension on the left side of the composition. Use the Warp command to make it appear as if the wing is wrapping around the body and coming forward to the viewer. Use a layer mask to integrate the two seam- lessly. In addition, add motion blur by first committing the layer to a smart filter. Restrict this blur to the tips of the wings using the mask. 3. To accentuate the wings that you’ve created, use Liquify (choose Filters > Liquify) to pull out the tips of the feathers along the edges of the wings, as shown in Figure 3.67. This helps create a series of implied vectors that point toward the main com- positional element, which of course is the light goddess. In addition, this helps make the wings more visually dynamic. 4. Using the same techniques that you used to create the lighting effects in Figures 3.55 through 3.57, create a rectangular gradient that will be the basis of the energy. This gradient should start with white in the center and end with green on the out- side. Remember, it might be easier to make a vertical rectangle with your Marquee tool and create the gradient inside it. When you’re done, apply the Transform tool The Art of Poser and Photoshop: The Official Guide174 Figure 3.66 Create the wing wrapping around the body so that the energy coming from the hand appears to start small and widen toward the bottom-right corner of the screen. 5. Now you have to add the light signature spilling from her hand as the energy leaves her body. To do this, start with a new layer and simply create a circular gradient using the same colors that you created for the energy bolt. Make sure that when you apply the gradient, the Circular Gradient command is selected on the Options bar. Change the blend mode for both of these layers to Lighten or Color Dodge. Experiment with both. See Figure 3.68. 6. On top of all of your layers, create a new one and fill it with a purplish color simi- lar to what you see in Figure 3.69. Change to blend mode of this layer to Linear Burn. This will tint the entire image with a reddish hue. This will also help you recede the other elements in the scene so that your character and the energy bolt are the most dominating compositional elements that your viewer will be attracted to. Apply the mask to this new layer and paint it black to reveal the original color of the character in the energy bolt. When you’re done, lower the layer’s opacity to 51%. Chapter 3 ■ Posing and Perspective 175 Figure 3.67 Apply Liquify to the tips of the wings The Art of Poser and Photoshop: The Official Guide176 Figure 3.68 Create the energy bolts emanating from the palm of the light goddess Figure 3.69 Add color over- lay to the entire scene 7. Adding more detail to the hair is often best saved for the finishing steps. Once the entire scene has been established, you can easily determine how you want the hair to look and interact within the final scene. So create a new layer. Draw a series of vertical black lines and apply a motion blur, as shown in Figure 3.70. 8. To assist you in shaping the lines, temporarily turn off the background. Use Warp (choose Edit > Transform > Warp) to sculpt the lines so that they appear to flare out into the wind. See Figure 3.71. 9. Repeat the previous two steps on several layers and shape them so that the hair over- laps. Keep in mind that you can simply duplicate existing layers and apply Warp to alter the look. When you have achieved the look that you want, merge all of the hair layers. Next, Select the Smudge tool and set the opacity to 50%. Use the brush that you created in Figure 3.72 and blend the stands of hair using an Opacity set- ting of 50%. On the Options bar, select Darken or Lighten from the drop-down menu to favor the lower or higher values. Now, change this layer into a smart object (right-click and choose Convert to Smart Object) and add some motion blur to get a feeling of movement. Use the mask to restrict the blur mostly to the tips of the hair. Figure 3.73 shows the final result with the added hair details. Chapter 3 ■ Posing and Perspective 177 Figure 3.70 Create vertical lines and apply a motion blur [...]... highlight applied to the black filled mask The white areas of the mask will allow the effect to take on a circular shape Use the Gaussian Blur tool (choose Filters > Blur > Gaussian Blur) on the mask to soften the effect of the glow along the edges See Figure 4.28 196 The Art of Poser and Photoshop: The Official Guide Figure 4.27 Apply a gradient to a new layer and apply a blend mode of Multiply Figure... images to the Specular_Color and the Bump channels Figure 4.15 Example of the final texture Figure 4.16 View of an alternative example 189 190 The Art of Poser and Photoshop: The Official Guide Figure 4.17 View of full texture applied Exporting the Poser Model Now that you’re finished texturing in Poser, you can export the model so that Photoshop CS4 can use it within the 3D layers 1 In Poser, go to... editing the mask 4 Next, add some richness to the lower tonal values of the concrete Achieve this with the use of the Levels adjustment layer Move the black slider, which represents the lower tonal values in your image, toward the right to the base of the curve The overall image starts to take on a greater sense of depth as those tones become deeper in tonality, as shown in Figure 4.25 194 The Art of Poser. .. head, access the face’s morph features Click the + icon next to the Eyes submenu to see the embedded morph options for that part of the body Apply the settings, as shown in Figure 4.8 The result will allow you to gently close the eyes 184 The Art of Poser and Photoshop: The Official Guide Figure 4.5 Apply the Direct Edit tool to pose your character Figure 4.6 Bend the forearm toward the forehead Figure... of the axes to rotate the body part along the chosen direction Also note that there are yellow cubes along the circumference of each axis Clicking and dragging any of the cubes will resize the selected body part This tool is very helpful for quickly manipulating multiple body parts You’ll continue to use this tool to pose the entire body 5 Next, select the right forearm and bend it so that the hand... basis for the texture Exporting images from Poser Pro to be used in CS4 Integrating paint techniques as part of your composition Integrating multiple characters 182 The Art of Poser and Photoshop: The Official Guide This chapter shows you how to create a scene with more than one Poser figure You’ll use two 3D layers in Photoshop and will create each one individually, export them as OBJ files, and then import... Diffuse_Color and navigate to New Node > 2D Textures > image_map, as shown in Figure 4.10 186 The Art of Poser and Photoshop: The Official Guide Figure 4.10 Add a new image map The Diffuse Color connector represents the actual color or image that will be placed on the surface of the model In this case, you’re going to use the concrete.jpg image to surface the model in an effort to give an appearance that the. .. Figure 4.15 shows how the final texture will look Figure 4.16 shows an additional way of achieving similar results using a single image Figure 4.17 displays an example of the model with the full texturing applied 188 The Art of Poser and Photoshop: The Official Guide Figure 4.12 Choose concrete.jpg as your new texture Figure 4.13 Display of the PoserSurface panel Chapter 4 ■ Using the Nodal Texture Engine... Figure 4.19 Select the objects to export Figure 4.21 Place the file in a designated location 192 The Art of Poser and Photoshop: The Official Guide Creating the Environment in Photoshop CS4 Using Photoshop, you’re going to create the concrete interior where the petrified figure will reside You’re going to do this with the help of digital photographs Let’s begin 1 Create a new layer group and call it Background... Open the Sydney G2 model and turn it to the right Chapter 4 ■ Using the Nodal Texture Engine Figure 4.3 Adjust the foot upward 183 Figure 4.4 Make a slight adjustment to the right collar 4 Select the right foot Select the Direct Edit tool, as shown in Figure 4.5 This tool will provide you with the visual axis for the heading, bank, and pitch of any selected body part Simply click and drag on any one of . they appear to be spilling off in a circular direction from the model. See Figure 3.58. The Art of Poser and Photoshop: The Official Guide168 Figure 3.58 Apply the gra- dient streaks around the perimeter. to the tips of the wings using the mask. 3. To accentuate the wings that you’ve created, use Liquify (choose Filters > Liquify) to pull out the tips of the feathers along the edges of the. you’re done, lower the layer’s opacity to 51%. Chapter 3 ■ Posing and Perspective 175 Figure 3.67 Apply Liquify to the tips of the wings The Art of Poser and Photoshop: The Official Guide176 Figure