The Art of Poser and Photoshop- P1 pdf

Also, I would like to thank the members of the San Diego Photoshop Users Groupwww.sdphotoshopusers.com for their dedication and support in helping me build astrong network of digital art

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The Art of Poser® and Photoshop®:

The Official Guide

This book is dedicated to memory of my mom for all of her loving support, and to

my dad for inspiring me to always excel at what I do They are excellent parents.

Without the support of so many others, this book would not have been possible

I would like to thank Jenifer Niles, Jennifer Blaney, Kezia Endsley, and Lee Kohse fortheir patience and professionalism in seeing this book to fruition properly

I would like to thank Roger Cotton for being a willing model and giving advice on greatposing concepts

Thanks to the entire Smith Micro team, especially Steve Yatson, Sarina DuPont, ColinGerbode, and Steve Rathmann for their patience and ever-growing encouragement andsupport Also, thanks to Daryl Wise, who helped promote the idea of a Poser andPhotoshop book Great job guys on producing a fantastic 3D package!

In addition, I feel it is only appropriate to thank Adobe for creating one of the most nificant upgrades that now includes 3D I think that you guys are on the right track Aspecial thanks to the following Adobe team members: John Knack, Zorane Gee, PeteFalco, and Vishal Khandpur Thank you for your support and knowledge

sig-Thanks to the entire Wacom team for creating an excellent interface to the computerfrom which artists can create intuitively Special thanks goes to Steve Smith, ScottGustass, Peter Dietrich, Doug Little, and Joseph Sliger

Also, I would like to thank the members of the San Diego Photoshop Users Group(www.sdphotoshopusers.com) for their dedication and support in helping me build astrong network of digital artists from whom I draw inspiration always

About the Author

Stephen Burns has discovered the same passion for the digital medium as he has for

photography as an art form His background began as a photographer 28 years ago,when he specialized in creating special effects photography using a 4×5 camera Hisstudies led him to discover painting, where he embraced the works of the greatAbstractionists and the Surrealists, including Jackson Pollock, Wassily Kandinsky, PabloPicasso, Franz Kline, Mark Rothko, Mark Tobey, Francis Bacon, Willem De Kooning,and Leonor Fini, to name a few

In time he progressed toward the digital medium to discover Paint Shop Pro, AldusPhotoStyler, Painter, and finally Photoshop He settled on Photoshop as his program ofchoice

Digital Involvement

In addition to being the president of the prestigious San Diego Photoshop Users Group(www.sdphotoshopusers.com), of which there are currently 3,000 members strong andgrowing, Stephen Burns has been an instructor and a lecturer in the application of dig-ital art and design for the past 13 years His teaching style comes from his ability toshare an understanding of Photoshop so that his students can intuitively apply it to theircreations You can find his online classes at www.xtrain.com/stephen

Published Works

Stephen has authored several books and written numerous articles He is the author

of Advanced Photoshop CS3 Trickery & FX, Advanced Photoshop CS2 Trickery &

FX, and Photoshop CS Trickery & FX He writes articles for HDRI 3D magazine

(www.hdri3d.com), where the articles are based on creative digital techniques usingPhotoshop and 3D applications

Exhibitions

Artistically, Stephen has been exhibiting digital fine art internationally at galleries such

as Durban Art Museum in South Africa, Citizens Gallery in Yokahama, Japan, andCECUT Museum of Mexico, to name a few

You can see more of Stephen’s works at www.chromeallusion.com

Foreword ix

Introduction x

Chapter 1 Poser and Photoshop Interface Overview 1 System Requirements for Poser and Photoshop 2

Understanding the Photoshop CS4 Interface 4

The Tools Bar 4

The Drop-Down Menus 11

The Palettes 12

The New Adjustment Layers 14

CS4 3D Engine 19

Modifying Textures in Photoshop CS4 22

3D Lighting Capabilities in CS4 28

A Quick Look at Bridge 35

The Poser Pro Interface 52

Poser’s Layout 52

Material Room 54

Camera Views 59

Character Display Style 63

Camera Views for Selected Body Parts 65

Basic Posing Concepts 67

Posing with Inverse Kinematics 72

Posing with Presets 77

Basic Poser Lighting Techniques 78

Various Helpful Poser Presets 80

Body Morphs in Poser Pro 87

What You Have Learned 91

Chapter 2 Creating a Profile Carved in Stone 92 Creating the 3D Head in Poser 94

Integrating the Head into the Digital Scene 104

Setting Up Lights in Photoshop’s 3D Layers 107

Contents

Completing the Landscape 112

Creating Moss with a Paintbrush 118

Applying the Moss 122

Adding the Finishing Touches to the Scene 127

What You Have Learned 131

Chapter 3 Posing and Perspective 132 Creating the Initial Landscape 134

Creating the Light Goddess in Poser Pro 139

Adding Texture to the Figure 149

The Camera’s Focal Length…A Brief Description of Perspective 155

The Camera’s Focal Length: Its Vanishing Point and Perspective Lines 156

The Camera’s Focal Length in Poser Pro 158

Integrating Poser and Photoshop 160

Adding More Lighting to the Light Goddess 165

Give the Goddess Wings 168

Adding the Finishing Touches 173

What You Have Learned 179

Chapter 4 Using the Nodal Texture Engine 180 Creating the Initial Poser Figure 182

Editing Textures via Nodes 185

Exporting the Poser Model 190

Creating the Environment in Photoshop CS4 192

Import the 3D Model 197

Creating the Chiseled Out Effect 201

Creating the Foreground Character 208

What You Have Learned 217

Chapter 5 Advanced Nodal Texturing in Poser 218 Creating the Landscape and Chamber 220

Making Further Modifications to the Glass Tube 233

Creating a Character in Poser Pro 236

Saving Your Poses for Future Use 242

Poser Pro’s Advanced Nodal Texture Engine 244

Adding Other Nodes to Selected Channels 254

Contents vii

Applying Photographic Images to Individual Channels 258

Using the Nodes to Create Bump and Luminosity Effects 261

Adding the Finishing Touches in Photoshop 267

Fine-Tuning the Character 267

Fine-Tuning the Backdrop 275

What You Have Learned 283

Chapter 6 Image Based Lighting in Poser Pro 284 Creating the Basic Pose 286

Understanding How Image Based Lighting Works 291

Applying IBL to a More Practical Image 297

Creating the Landscape in CS4 306

Finalizing the Detail in the Background 321

What You Have Learned 327

Chapter 7 UV Mapping in Poser Pro 328 Creating the Basic Pose 335

The Face Room 339

Integrating the Side View Into the UV Map 357

Adding Detail Back Into the Image 374

Creating the Bump and Diffuse Maps 380

What You Have Learned 387

Chapter 8 HDRI Lighting 388 Sculpting the Head 390

HDR and Photoshop 394

Matching the Focal Length of the Lens in Poser and Adding HDR Lighting 397

Creating the Scene in Photoshop Using an HDR Image 401

Editing the Texture Maps in Photoshop 416

Adding Some Finishing Details 428

Altering the Texture on the Clothing to Look More Futuristic 437

Fine-Tuning the Clothing in CS4 441

Adjusting the Surface Quality and Painting on the 3D Object 447

What You Have Learned 453

The Art of Poser and Photoshop: The Official Guide

viii

Stephen Burns’ art looks nothing like mine I work in the entertainment industry ating art for film, television, and comic books I design the look of futuristic cities, drooling zombie cyborgs, or drawing cute funny kids in my webcomic (www.kindergoth.com) All of my income comes from the creation of art that is meant

cre-to entertain Stephen’s background is in phocre-tography, and he teaches digital art I amtalking about myself only because I want you to understand how different Stephen and

I are artistically and how important this next sentence is Even though I will most likelynever create a piece of art similar to Stephen Burns, I love his books

Every time a new version of Photoshop or Poser is released, you will find Stephen in hisoffice playing with all the new features trying to figure out how they work or where hecan use them He needs to know He needs to learn Every time I see Stephen, he shows

me his latest work and describes how he created it Then he does something amazing—

he asks how I would have done it Most artists of Stephen’s caliber are egos with legsand gaping maws starving for praise Not Stephen; he wants to improve, learn, and thenshare what he learned with anyone willing to listen You’ll find him combing over thedevelopment notes from the engineers, constantly trying to figure out new ways toimprove his workflow and add new, creative effects to his art With the new 3D layersfeatures in Photoshop CS4, Stephen was happy as a child who inherited a toy store Hespent months testing it for Adobe and Smith Micro, trying to get the two programs toplay nice with each other and create stunning images All along he was taking notes andlearning

The book you are holding is full of what Stephen learned All those months of practice,experimentation, conversations with software developers and engineers, others artists,and, of course, his notes have culminated into this book His step-by-step instruction,with lessons that build upon lessons, are amazingly easy to follow and incredibly in-depth And, best of all for me, they’re practical Just last week I was commissioned to

do two major pieces, and I will do them using techniques I learned from this book.Stephen Burns’ art looks nothing like mine However, I always learn something newfrom his books Stephen is an educator His enthusiasm for learning new techniques issurpassed only by his passion for sharing what he has learned If you are not luckyenough to be one of his students, you can rest assured that this book is almost as good

as being one Whether you are a seasoned veteran of digital art or a novice, you will findsomething new and inspiring in the following pages

Lee KohsePixel Defiler, Creative Director, BloodFire Studios

www.kohse.com (www.bloodfire.com)

Before you dive into the first chapter, be sure to download the content and images fromwww.chromeallusion.com/downloads.html You will see the title of the book in boldand below that, you will find the files you need Please download the files for each chap-ter and place them into a main folder named Tutorials You will be asked to referencethe images from that folder as you work through the tutorials throughout the book Ofcourse you will need Poser Pro and Photoshop CS4 as well If you do not have theseprograms yet, it’s worth checking to see if there are 30-day trial versions offered atwww.contentparadise.com for Poser Pro and www.adobe.com for Photoshop CS4.Software companies struggle year after year to ascertain what their customers require in

a software package and how to attract new customers that will make their software part

of the production pipeline They are discovering that software needs to be easy to use,inviting to work with, and compatible with other software packages These are criticalpieces of the puzzle that both Smith Micro and Adobe have fulfilled

3D by nature is extremely time-consuming and often difficult to learn because the face and the tools’ functions are not at all intuitive Most who are used to painting theirideas or using photography to relay a concept dread the use of 3D applications because

inter-of the time needed to model the idea in 3D To add to the frustration, one inter-of the mostdifficult and tedious design concepts is the creation of 3D organic human and animalcharacters If an artist could focus on the creative vision rather than spending time build-ing complicated 3D characters and objects, maybe 3D would be an attractive medium

to include into the 2D pipeline

Smith Micro has addressed this need with Poser Pro With an extensive library of acters, props, and environments, artists now have a fun and intuitive 3D solution wherethey can concentrate on the creative vision rather than the technical obstructions.Adobe has recognized that the future of a good graphics program will be in its ability

char-to extend its functionality char-to share the contents of other graphic-based programs This

is all in the spirit of giving the artist the functionality of completing the final vision fromwithin a single program This is where Photoshop CS4 is beginning to excel Adobe rec-ognized the need to allow the designer to include a variety of disciplines to be manip-ulated from within Photoshop CS4 The traditions include photography, painting,medical illustration, video, and 3D With this significant upgrade, which includes moresophisticated 3D functionality, you can now use programs like Poser Pro to design yourcharacters and then import them into Photoshop CS4 This new workflow solutionincludes altering textures, painting onto 3D objects, editing a variety of surface textureswith the Paintbrush tool, animating the layer contents, and applying multiple lights to

a 3D object

I have always proclaimed that there is a new movement in art, and it is digital The ation of all visual art forms is available to the general public in the form of computersoftware This book will share some dynamic possibilities for creating with PhotoshopCS4 and Poser Pro It is my hope this book will help you bring together both the cre-ative and the technical approaches to creativity so that you will gain an understanding

cre-of this new medium

Introduction xi

This chapter covers the following topics:

■ A brief overview of the Poser Pro and CS4 interfaces

■ How to navigate in Poser Pro and CS4

■ Basic posing in Poser Pro

■ A look at cameras in Poser Pro and CS4

■ A look at lighting in Poser Pro and CS4

■ A look at texturing in Poser Pro and CS4

■ Basic body-morph techniques in Poser Pro

Chapter 1

Poser and Photoshop Interface Overview

As computer programs continue to develop, the companies that create them are ning to understand the importance of an intuitive interface Today’s user demands thatdigital programs be easy to use and exciting to work with Photoshop is one of the mostintuitive programs on the market in terms of a two-dimensional illustration, photo-graphic, and paint program CS4 adds a revolutionary improvement to its 3D capabil-ities Not only can you edit your textures, but you can also paint directly onto all of themodel’s surfaces, including diffuse, specularity, bump, and reflections surfaces You canadd and edit light sources You can apply surface changes to the meshes Another hugeimprovement is the ability to have both 32- and 64-bit versions on a 64-bit machine.

begin-System Requirements for Poser and Photoshop

Here are the system requirements to run Photoshop CS4 You can also find theserequirements at http://www.adobe.com/products/photoshop/photoshop/systemreqs/.Windows requirements for Photoshop CS4 are as follows:

■1.8GHz or faster processor

■Microsoft Windows XP with Service Pack 2 (Service Pack 3 recommended) orWindows Vista Home Premium, Business, Ultimate, or Enterprise with ServicePack 1 (certified for 32-bit Windows XP and 32-bit and 64-bit Windows Vista)

■512MB of RAM (1GB recommended)

■1GB of available hard disk space for installation; additional free space required ing installation (cannot install on Flash-based storage devices)

dur-■1,024×768 display (1,280×800 recommended) with 16-bit video card

■Some GPU-accelerated features require graphics support for Shader Model 3.0 andOpenGL 2.0

■DVD-ROM drive

■QuickTime 7.2 software required for multimedia features

■Broadband Internet connection required for online services

Mac OS requirements for Photoshop CS4 are as follows:

■PowerPC G5 or multi-core Intel processor

■Mac OS X v10.4.11–10.5.4

■512MB of RAM (1GB recommended)

■2GB of available hard disk space for installation; additional free space required ing installation (cannot install on a volume that uses a case-sensitive file system or

dur-on Flash-based storage devices)

■1,024×768 display (1,280×800 recommended) with 16-bit video card

The Art of Poser and Photoshop: The Official Guide

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