Рендеринг SketchUp в Photoshop

8/8/2019 SketchUp Photoshop

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SketchUp already excels at non-photorealistic output, but to push your images even further, letslook at using Photoshop to create some interesting effects. Before going to Photoshop however,we can use SketchUps various display modes to output some different styles that can becombined to achieve fast and effective results when we do go to Photoshop.

Keep in mind that the tools we are using are available in many image editing programs, souse the principals here and experiment in whatever software you prefer to use. Also, there aremany other ways to achieve similar results in Photoshop, so experiment with different tools andmethods to nd what works best for you.

This document is meant to be an overview, so it wont cover all the details in depth, but rather

try to cover the general ideas, and show the most important steps.

Part 1: Painterly Effects

Beyond SketchUp:

Rendering with SketchUp and Photoshop


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Beyond SketchUp: Rendering in Photoshop- P. 2

The rst example will be to create a softeffect of fading the edges of the image.This is a really quick and easy effect,making it great for repeating on multiple

images.

Export 3 images from SketchUp, allfrom the same view, and at the sameresolution. This is easy as SketchUpremembers your previous output settings.Make the images:

A - A hidden line with edge styles as you

like them.

B - A hidden line with heavy shadows,and no pro le or other edge styles.

C - A colored image with light shadows.

A

B

C


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Now in Photoshop, pull the shadowsand hidden line images into the coloredimage, and line them up with eachother. Each image should be its ownlayer, the hidden line on top, shadowsin the middle, color as the bottom orbackground layer. First we want to adjust the shadowslayer so it has no line work, but heavyblack shadows only. This will let us havecontrol of how dark the shadows are inthe scene.1 - Hide the hidden line layer to see theshadows layer properly.2 - Choose the shadows layer, and applya Gaussian Blur to it with a radius of 2-3pixels. (A)3 - Now adjust the levels to push outthe grey line work, and heavy up theshadows. (B)4 - You can stop here for hard-edgeshadows, or add another Gaussian Blurto soften the shadows to your liking.5 - Change the shadows layer to aMultiply blending mode, so only theshadows show. Adjust the opacity of thelayer to control how heavy the shadowsappear. (C)

Time for the magic where we startadding some painterly effects. Rememberthat there are different ways to do this.The most simple would be just two

layers, a color layer, and line work layer,and just erase out parts of the line work layer so you can reveal the colored layeras you like. The method we are usinggives you more control over the process,which is also why we have the shadowlayer, for added control in the scene.

A

B

C


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Un-hide, and choose the hidden linelayer, and apply a layer mask to it. (A)This lets us paint on this masking layer,which controls how much of the hiddenline layer shows through.

Pick the paint brush tool, and right orcontext click on your image to openthe brushes dialog. Scroll through thebrushes and pick a natural looking brush.Change the brush opacity down to 20-30%, and push the brush diameter upso you can paint large portions of thescene. (B) It helps to change the brushsize as you paint for good variation in theeffects.

Now paint. Painting black onto thelayer mask has the effect of erasing thelayer. By turning down the opacity of the brush, you can paint over the imagein several passes, bringing more of the color out as you go. Change yourpainting color to white, and you can re-heal the hidden line layer. (C)

(Hint: You have a foreground andbackground color, so make one black,and one white, then use the keyboardshortcut x to easily switch between thecolors when painting.)

Experiment with different brushes, andvary the settings to get different results.

Change your shadows layer for addeddepth in the scene. Take the settings youlike, and use them on multiple images toproduce results that are similar, and willunify your presentation graphics.

A

B

C


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Here are some different results byvarying the brushes, or combiningdifferent types of brushes into the samescene.

(A) This is a soft natural brush only.

(B) This is a long thin brush that isangled. You have a lot of control overeach brush, and can even create yourown brushes.

(C) This is a combination of a the angledthin brush, with a soft natural brush.Keep using different brushes, and paintuntil you achieve just the look you want.

(D) This image shows the results of anadjustment layer added to the scene. Iused a Hue/Saturation adjustment layerto colorize the image this bluish tint. Thisis to encourage you to explore the manyother tools available to you.

As you explore, remember there aremany other ways to combine the tools of SketchUp with Photoshop so you can getamazing results!

A

B

D

C


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Re ections dont have to be photorealistic to be effective. Using only a few images fromSketchUp, we are going to create some window re ections for an interior scene. Although asubtle effect, it really helps spice up the image.

Re ections...


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Photoshop has the ability to makeselections based on color. The key then isto create an image from SketchUp withsome obvious color choices. Knowingthat we want to work with the glassre ections, make the glass material avibrant color that isnt found elsewherein the scene. Here Ive used a bright redfor the window glass I want to use inPhotoshop. (A)

We also need an image to use as there ection. Taking a different view fromthe right vantage point will help fake asemi-accurate re ection. (B)

As for any other images we need, wecan follow the same methods that wereexplored in the last example. For now acolored image and hidden line image willwork well. (C)

So now on to Photoshop, where youshould merge the images into a le andline them up. There should be 4 layers,and put the image with the red windowson top so we can work with it rst.

Use the eye-dropper tool to sample thered color. (D)

A

B

C D


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After picking the red color, go to theSelect menu, and from the menuchoose: Color Range.

(A) This menu lets you widen the colorrange, pull the Fuzziness slider bar back and forth to see this. Somewhere in themiddle will probably work just ne forstarters.

Choose Ok, and we now have aselection of the windows. Go again to theSelect menu, and now choose SaveSelection. Name your selection and hitok.

The windows selection is now saved,and we can bring up that selection atany time. Go again to the Select menu,choose Inverse to pick everything butthe windows. (B) Hit Delete on yourkeyboard to get rid of the rest of thescene. Go back to the Select menu, andInvert your selection again, and nowpaint or ll the windows with black. (C)

The reason for the black windows has todo with re ections in general. By havinga layer of black where the re ectionswill be, you can adjust the opacity of thislayer, to make the re ections a bit darkerthan the surrounding scene. This adds tothe effect, as re ections often are darkerand it also gives us one more element of

control.

Under the Select menu, chooseDeselect to remove for now thewindows selection.

A

B

C


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In your layers pick the layer with there ection image. Hide or change theopacity of other layers as needed tomove this re ection image around so itwill show up in your glass as a properre ection. I used the monitor as areference for this example. (A)

Make sure the re ection image layer ispicked, go to the Select menu and chooseLoad Selection. From the menu, chooseyour named selection from the Channelbar, and check the Invert box. (B)

Hit Delete on your keyboard to deleteall the re ection layer except the areain the windows. That is why we choseto invert the selection. We have thewindows saved as a selection, we simplyselected everything but the windows byloading an inverted selection.

Arrange your layers such that the colorlayer is on the bottom, with the re ectionand windows layer above that. Thehidden line layer should be on top if youwant to use the soft edges effect that wasexplored in the 1st example. Ive namedmy layers so you can see this order. (C)

Hide the Hidden line layer, andadjust the opacity of the window andre ection layers to get the look that youwant.

Monitor Re ection

A

B

C


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For a nal touch to the re ection, I addeda small amount of glass distortion to it.(A) Play with the settings to your liking.I also add a small amount of blur to there ection, but this gets into personalpreferences.

Note: This example shows only 1re ection image, but based on yourimage and the orientation of your glassyou may want multiple re ection imagesfor different glass surfaces. As with allof these examples, use more layers ordifferent settings in SketchUp to exportimages that will make your Photoshopwork that much better!

This nal image shows some lightingeffects that we will explore in the nextexample. (B)

A

B

Special thanks to Olle Bergman for hisSketchUp model used in this example!


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Now that weve tackled a daytime and interior image, lets try creating an evening shot, withsome lighting effects. You can really get creative with this, so use your imagination to push yourimages. We will go over the basics only.

Lighting...


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Think about a night scene and whatmakes it dynamic. Light. A dramaticbackground sky, light spilling fromwindows and light xtures, silhouettesbacklit or de ned by the light spillingacross their forms, etc. This is what wewant to plan for, and so exporting somedifferent images from SketchUp will helpto achieve these various light conditions.

Start by turning shadows on in SketchUpand pushing the time of day slider all theway to the end, which will give you adark scene. (A) Change the backgroundcolor for a vivid sky. (B) Edit thewindow material to create a easy windowselections. (C)

If you use layers in SketchUp, that isalso a good way to get selections. Turnon Color by Layer in SketchUp, andyou can get very quick different coloredoptions. (D) Here shows only the treeson a separate layer, but all of the people,windows, trees, etc could be on their ownlayers so youd have one quick image toseparate them.

Sketchy edges will round this off, (E)and nally, I placed some people insidethe building, then hid everything butthose people. Exporting from the sameview makes it really easy to drop thesepeople exactly in the scene where we

need them. You could incorporate theminto the regular views and still get goodresults, but having them on their ownlayer gives us more control in the scene.

A

B

C

D

E

F


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Assemble your images together inPhotoshop, and begin by creating somesaved selection sets. Refer to Page 7-8on creating and saving selections. Savea selection for the sky and windows fornow using the images from SketchUp(A), but remember to experiment onyour own. Having a selection of thetrees, planter walls or people could all beuseful. After using the images to createthe saved selections, delete those layersto help keep your layers uncluttered.

Select the dark background layer (B)and load your sky selection. Now use agradient to ll in the sky. I chose a dark purple fading to a salmon pink, but playwith your colors to get really vibrantbackgrounds! These are the gradientsettings I used. (C) These are the results.(D)

Hint: To keep your selection active butnot see the glittering outline, hit Ctrl+H(Cmd+H on a Mac) to hide the selection.Remember it is hidden so it doesnt getin the way later when you move past thatselection.

Deselect your sky selection now.

A

B


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Create a new layer and name it Light.With this new layer active, load yourselection for the windows, choose a lightyellow or peachy color, and paint in thelight for the windows. It will help if youhide layers you dont need, so you cansee the light on the dark backgroundimage. (A)

Go to the Select menu and feather yourselection. This will soften the selectionedges. Play with the amount, butsomething around 5 should work. Nowpaint your windows again, and youll seea soft glow added to the windows. (B)Play with the blending mode of the lightlayer. Change it to Color Dodge, orPin Light, and what looks best to you.

Things are starting to look interesting,but the most fun is up next. Now you gointo the scene and paint light as needed.Here is one example:

Zoom into a light sconce, and usethe Polygonal Lasso Tool to make aselection of how the light might spillout of the xture. (C) Now paint lightby applying a gradient owing fromthe xture. I used a Foreground toTransparent gradient with a lightforeground color. (D) Have fun withthe way the light spills out, soften theselection, highlight the light xture, play

with the gradient and see what happens.

Also remember to paint in somegradients onto surfaces that the lightwould effect. (E)

A

B

DC

E


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Now paint light into all differentelements of your scene. Keep in mindthat it usually doesnt have to be exact,especially when you are zoomed in. Justadd touches of light on people, trees orother elements and it will really singwhen zoomed back out. (A)

After painting light in, some of youredges may get lost, so use the Sketchyedges (B) to bring them back. Set theblending mode to Multiply, and adjustopacity as you like.

A

B


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Time to add life to the interior of thebuilding. Select the people layer (A)and set the blending mode to Multiply.Now load the windows selection, butchoose Invert to select everything butthe windows. Delete the selection, andnow the people are only showing in thewindows! Perfect, adjust the opacity tofade them back, and we have a livelyparty going on inside!

Now that you have the tools, add light,entourage, and embellish your scene asyou see t. I added a few backgroundtrees and lights, and washed the imagewith some lters to create more of apainted feel. Run with your imaginationand see what happens!

A

B

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Рендеринг SketchUp в Photoshop