Enhancing CAD Drawings with Photoshop® Scott Onstott SYBEX® San Francisco London Enhancing CAD Drawings with Photoshop ® Scott Onstott 4386FM.fm Page i Tuesday, November 16, 2004 10:00 PM Publisher: Dan Brodnitz Acquisitions Editor: Willem Knibbe Developmental Editor: Pete Gaughan Production Editor: Lori Newman Technical Editor: Ryan Spruston Copyeditor: Pat Coleman Compositor: Kate Kaminski, Happenstance Type-O-Rama CD Coordinator: Dan Mummert CD Technician: Kevin Ly Proofreaders: Ian Golder, Nancy Riddiough Indexer: Nancy Guenther Book Designers: Maureen Forys, Happenstance Type-O-Rama and Judy Fung Cover Designer: John Nedwidek, Emdesign Cover Illustrators: Scott Onstott and John Nedwidek, Emdesign Copyright © 2005 SYBEX Inc., 1151 Marina Village Parkway, Alameda, CA 94501. World rights reserved. 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We can now experi- ment with color schemes with a click of the mouse and have complete control over the colors we use. We can combine computer-generated 3D models with actual site photos to see how a design will look when it’s in place. When combined with AutoCAD, presentation material can be generated faster and with greater accuracy. Cut-away views of 3D plans can be rendered and colored in hours instead of in days. But Photoshop is a complex program with a lot of depth. Until now, the unique methods that archi- tects need to employ with Photoshop had to be learned through trial and error, or by gathering knowledge from disparate sources. Enter Scott Onstott’s Enhancing CAD Drawings with Photoshop . When I first heard about this project, I was very excited because it’s the book I’ve been wanting in my own library for some time. And having worked with Scott, I have no worries about the quality and content; I know how Scott works, and he leaves no stone unturned. His writing is thorough yet easy to understand. Those qualities combined with his professional experience using Photoshop in an architectural setting make Enhancing CAD Drawings with Photoshop a killer book. I don’t think anyone could have found a better combination of knowledge, experience, and writing skill for this project. He starts out with a chapter for complete beginners, to help you understand how Photoshop works and how it differs from CAD software. Next, he delves into the all-important topic of color and all its ramifications. This chapter alone is worth the price of admission as it covers color calibration; understanding calibration can save your office hundreds of hours in wasted time. Next, Scott shows you the tools that let you fine-tune color, sharpness, and other effects. Chapter 4 covers one of my favorite topics, entourage, where you learn how to add life to a computer-generated 3D model. Later chapters discuss methods for rendering 2D images from CAD plans, such as floor plans and eleva- tions, and get into the nitty gritty details of combining images from different sources. Scott presents some great information on alpha channels and layers—key tools when combining 3D and 2D images. Finally, Chapter 9 covers the all-important methods for getting consistently great hard-copy output. If you are an architect looking to get the most out of Photoshop, look no further; it’s all here in Scott’s book. You could probably buy five or six other general Photoshop books and still not find the gems that are pressed between these pages. Great work, Scott! Regards, George Omura Author, Mastering AutoCAD 2005 and AutoCAD LT 2005 4386FM.fm Page v Tuesday, November 16, 2004 10:00 PM Acknowledgments First I’d like to thank my wife, Jenn, for her loving support and encouragement throughout this project. I’d like to thank all those at Sybex who worked on this book for their help in publishing this, my first book as sole author. Although I’ve worked on numerous Sybex books in various supporting roles, and I self-publish many digital books and video courses, it is quite an honor for me to see this book in printed form. Thanks to Willem Knibbe for believing in me and presenting the opportunity to write this book. Thanks go to Pete Gaughan for his unfailing support and excellent editorial feedback, making this a much better book. Thanks to Ryan Spruston for being a great technical editor and to Pat Coleman for very helpful copyediting. Lori Newman also deserves thanks for keeping all those working on this project on track. Special thanks to Richard Trueman, Stephane Osmont, Christian Sterner, Chan Lee, Michael Sech- man, and David Wright, who have all taught me a lot and offered their support over the years. 4386FM.fm Page vi Tuesday, November 16, 2004 10:00 PM Contents at a Glance Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xiii Chapter 1 • The Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Chapter 2 • Working with Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Chapter 3 • Digital Darkroom Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Chapter 4 • You and Your Entourage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Chapter 5 • Presenting Plans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 Chapter 6 • Elevating the Elevation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 Chapter 7 • Creative Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 Chapter 8 • Illustrating Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 Chapter 9 • Showing Work to Your Clients . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 4386FM.fm Page vii Tuesday, November 16, 2004 10:00 PM 4386FM.fm Page viii Tuesday, November 16, 2004 10:00 PM Contents Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiii Chapter 1 • The Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Color vs. Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Anti-aliasing and Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Raster Data Storage and Compression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Understanding Modes, Bits, and Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Bitmaps and Grayscale Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Color Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Color Bit Depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Additive versus Subtractive Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Selecting Pixels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Saving and Loading Selections with Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Using Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Organizing Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Layer Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Layer and Vector Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Clipping Groups and Knockouts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Layer Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Painting, Adjusting, and Filtering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Using Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Making Adjustments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Using Adjustment and Fill Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Applying Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Reversing Changes: Undo, Fade, and History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Text, Shapes, and Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Creating and Editing Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Creating and Editing Shapes and Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Sizing and Transforming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Setting Image Size, Resolution, and Document Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Straightening Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Correcting for Two-Point Perspective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Chapter 2 • Working with Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Modes and Gamuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Color Spaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Calibration and Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Profiling Your Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Disabling a Printer’s Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Consistent Color Printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 4386FM.fm Page ix Tuesday, November 16, 2004 10:00 PM [...]... Table 1. 1: …while noticing the color numbers here Powers of 2 Power of 2 Number of Values Bit Depth Notes 21 2 1 Bitmap mode 22 4 2 23 8 3 24 16 4 25 32 5 26 64 6 27 12 8 7 28 256 8 29 512 9 210 10 24 10 211 2048 11 212 4096 12 216 65,536 16 Limit of human perception of tonal differences 224 16 ,777, 216 24 RGB (8 bits/channel) 232 4,294,967,296 32 CMYK (8 bits/channel) Grayscale mode UNDERSTANDING MODES,... for binary mathematics (ones and zeros) Table 1. 1 lists the powers of 2 Figure 1. 12 Sampling a darker color yields a lower number Notice the corresponding color shown here Sample a darker pixel Darker pixels are represented by lower numbers here 11 12 CHAPTER 1 THE BASICS Figure 1. 13 Drag selector from here… Understanding color values …to here… Table 1. 1: …while noticing the color numbers here Powers... Size drop-down list on the Options bar 7 Click a light pixel in the image to sample its color in the foreground color swatch in the toolbox (see Figure 1. 11) Figure 1. 10 Grayscale image: viewed at (left) 10 0% and (right) 16 00% Figure 1. 11 Sampling colors with the Eyedropper Notice the RGB values for the sample Click a pixel in the image to sample its color Click the foreground color swatch to open the... 11 1 Enhancing Entourage 12 3 Adding People to an Elevation 12 4 Adding Trees to an Elevation 12 6 Building an Entourage Library 13 0 Entourage in Autodesk VIZ 13 1... sample The pixel sampled in Figure 1. 11 has a numerical value of 18 9 9 Select a darker pixel in the image while leaving the Color Picker dialog box open Figure 1. 12 shows a darker pixel selected whose value appears as 57 in the Color Picker 10 In the Color Picker, drag the color selector in the color ramp along its left edge from the top, down to the bottom (see Figure 1. 13) As you drag the selector, observe... this have to do with CAD anyway? In a way, vectors have everything to do with CAD, because CAD is based on points, lines, angles, coordinate systems, and so on The word vector was sort of chosen as a mascot for this type of euclidean 2 CHAPTER 1 THE BASICS geometry/Cartesian coordinate type of linear mathematical system Let’s take a quick look at how this works in AutoCAD 1 Launch your CAD program This... 13 1 Designing an Entourage Material 13 5 Summary 13 8 Chapter 5 • Presenting Plans 13 9 Preparing Plans in AutoCAD 13 9 Cleaning Drawings 14 0 Setting... it takes are shades of gray, even though the image in the document window appears in shades of red 13 14 CHAPTER 1 THE BASICS Figure 1. 14 The Preferences dialog box Figure 1. 15 Sampling the Red channel 9 Close the Color Picker and double-click the Zoom tool in the toolbox to return to 10 0% magnification 10 Choose Edit Preferences Display & Cursors again to open the Preferences dialog box Now that you... Printer Driver in AutoCAD 14 2 Creating a Plot Style Table for Images 14 5 Scale and Resolution 14 7 Transferring Multilayer Drawings to Photoshop 15 3 Using Patterns 15 9 Creating and Applying... zoom in AutoCAD, you are using math to manipulate the display of the coordinate system You could zoom in forever and still never get to an “end.” 6 You can close your CAD program now, and there is no need to save the example drawing COLOR VS NUMBER Figure 1. 1 A simple drawing in AutoCAD Figure 1. 2 Clicking the Properties button opens the Properties palette 3 4 CHAPTER 1 THE BASICS NOTE AutoCAD objects . Enhancing CAD Drawings with Photoshop Scott Onstott SYBEX® San Francisco London Enhancing CAD Drawings with Photoshop ® Scott Onstott 4386FM.fm Page i Tuesday, November 16 , 2004. to understand. Those qualities combined with his professional experience using Photoshop in an architectural setting make Enhancing CAD Drawings with Photoshop a killer book. I don’t think. form there. 4386Intro.fm Page xv Tuesday, November 16 , 2004 10 :18 PM 4386Intro.fm Page xvi Tuesday, November 16 , 2004 10 :18 PM Chapter 1 The Basics Color is represented by computers in