1024programmer Photoshop PS Production Example: Production Processing of Object Texture – Production Example

PS Production Example: Production Processing of Object Texture – Production Example

[Foreword]

Recently I saw someone asking how to express texture and light. This is a good question, which shows that everyone is beginning to pay attention to some real Techniques based on principles, rather than just techniques for the sake of techniques. This is of great benefit to the real improvement of PS. No matter how familiar the menus and panels are, why can’t they produce cool effects? I think this is a question that beginners often confuse.

Let’s put it this way, a word, wonderful, everyone knows what it means: wonderful. When everyone sees this word, they think of the wonderful feeling. However, this word is composed of the letters w,o,n,d,e,r,f,u,l. Memorizing these letters alone is boring, isn’t it? And there is no meaning after separation. What does this indicate when compared to PS learning? It shows that simple menu commands are boring and meaningless, and have no special functional skills. However, only when combined well can we create good works.
It seems that the combination is a mystery. Yes, the key to using PS well lies in the combination of small skills. So what is the soul of the combination? In other words, how can one come up with this combination? Derived from various principles in real life. How can I get it? observe.

Don’t take it for granted, here’s a question: Do you know the fuzzy commands in PS? (I know~) Okay, that’s a quick answer. Do you know the relationship between light and dark of a sphere? (Know a little bit), where does the dividing line between light and dark come from? (Alright) Reflection? refraction? Caustics? Diffuse reflection vs metallic reflection? What does reflection imaging look like? ()

This is why I have always wanted to write something that uses PS to express texture, but I find it difficult to do so.

Because expressing texture is really a matter of thought. If you know this thing is like this, just use any tool to express it. To put it bluntly, it has nothing to do with PS. I was afraid that I would go off topic, so I delayed writing.

So don’t have high hopes for this article, thinking that it will produce some exaggerated effect just by reading it. In fact, it is not the case. Frankly speaking, I spent an entire afternoon writing this article, and the examples are also made up on the spot, and they are definitely not some cool or dazzling effects. But I want to tell you that freezing does not last for three days. If I teach you how to fish, I can only give you one big fish at most. If I teach you how to fish, you can learn how to build a net and catch fish.

Therefore, in a word, don’t dislike examples. This example is definitely a good teaching material that combines very subtle principles/operations. If you learn to do it step by step, it will definitely be of great benefit.

 [Basic Techniques for Texture Expression (Part 1)]

Software: We use the simplified Chinese version of ps7.01.
Material: Blank document, we have to make something out of thin air.

Okay, the preparation is complete, let’s get started. No, at first everyone wanted to see the recent effect. Although it doesn’t look very good (as mentioned in the preface), it is indeed worth learning. Let’s upload it first.


OK, seen it The rendering, as you all know, is a glass vessel. Why get such a random vessel? Because I don’t want beginners to fall into endless basic operations at the beginning, and these basic operations are activities that take time to practice, so just click , everyone can get started.

1. Path tool. I won’t say much about the path tool. Let’s go find Zhao Peng’s path termination tutorial. It’s very worth learning! We create a new document, then use gray as the background, then create a new layer and draw a closed curve shape with a pen. As shown in the picture:

2. Use ctrl+enter to convert the path into a selection, then fill it with a dark cyan color, cancel the selection, and lock the transparency of the layer.


3. People’s opinions on One source of the three-dimensional sense is the human eye’s ability to distinguish the distance of objects, and the other is the change in light and darkness of light. For most objects, the side that is illuminated by light is bright, and the side that is not illuminated by light is dark. Let’s describe the dark parts first. Use the pen tool to draw a path that covers the dark part we need (we assume that the light source shines from the upper left to the lower right).

4. After converting it into a selection, we are ready to darken this part. But darkening is a transitional change, not a blunt change in color. How do i do this? We hope that the area where the constituency functions will be transitional. what to do? We think of feathering. Feathering a selection will naturally produce a transitional selection, and applying a darkening operation to it will naturally be transitional.


5. The selection is feathered, and we need to make it darker. Use coloring? No, it’s too inconsistent with our habits. We should say: you want to darken, therefore ��� can become darker. What operation can do this? ctrl+u, hue and saturation command.


6. As you can see, the three parameters are in line with our thinking. Hue is color. I say this orange is red. If it is not yet ripe, it is green. This change is a change in hue. When it gets dark, the orange becomes grayer and darker, which is a change in brightness; saturation. ? Think of this with paint. Adding a little white to red will make it lighter. In other words, it will be impure, which is usually said to be pink. This is a situation where the saturation decreases.
We first need to reduce the brightness (it needs to be darkened, right?). When it becomes darker, it will look gray (black and subdued, of course, the saturation is reduced). Generally speaking, we still want the picture to be brighter, so We increase the saturation appropriately.

7. As you can see, the transition is very good. Generally speaking, in order to increase the three-dimensional effect, we should make the edges of the object darker. Load the selection of this layer, as shown in the figure:

Then we invert the selection and feather it. The feather value can be smaller, such as 10, because we don’t need too many transitions. And then it’s the same hue and saturation operation.

8. The dark part is basically completed, and the brightness is outlined using the same path.


9. First adjust the general highlights. What we need is a large-area transition, so the feather value should be higher, maybe 20.


 10. When adjusting the hue and saturation, remember to increase the saturation so that the color can be correct, otherwise it will turn white.


11. After the big highlight is a small area of ​​highlight. Also use a pen to mark a small area.


12. Remember There will always be reflection in the dark part, and when it is caught with the bright part, it will form the dividing line between light and dark of the object. Therefore, we need to select the reflective areas in the dark areas.

 13. Still feathering, adjusting hue and saturation again and again.

 14. Trim the shape to make it look like there is an opening.

15. How about adding some reflection to give it a clear reflection. This time use a new layer.


Adjust the transparency and change The color block is cut to create the reflection of a window.


16. It’s time to draw the shadows. Use the Elliptical Selection Tool to drag an elliptical selection.


17. Create a new layer, then fill it with black, and then use Gaussian blur to make the shadow edges not too sharp.


18. The shadow cannot be simply blurred. Due to the divergence of the light source, the shadow will not be a stable transition in all directions. We can use motion blur to deal with it, pay attention to the direction.


19. Let’s draw the inner wall and check the inner wall. We only need the shape of the bottle mouth above to be accurate, and the bottom and so on must be hidden with a mask, so the shape below is not required. Too accurate.

20. Same feathering, but after feathering, instead of adjusting the color immediately, we use ctrl+j to copy this part of the bottle as a new layer.



 21. Darken this piece, and then add a mask, leaving only the upper part. It feels natural because of the masked transition.


22. The bottle mouth looks good. The bottle feels a bit transparent now. Also continue to work on the inner walls of the bottle. Note that the inner wall will be brighter due to reflection (this effect will occur when the bottle wall is thick and comes from reflection and total reflection). Select and copy it as a new layer (ctrl+j), and then adjust it to be brighter. As shown in the picture:


23. Adding the bottom of the bottle, the bottle looks transparent.


24. Caustics Make. As a glass bottle, there will naturally be refraction, and the refraction will be directly projected into the shadow, creating a faint light inside. We choose a bright color for the glass bottle, then draw an oval and fill it with that color.

25. Similarly, we use Gaussian blur and motion blur functions.


26. Duplicate one more caustics layer to enhance the light effect. This is basically complete.


 [ Summary: What inspiration can we get from it]
It is this simple little tutorial. The most basic operations are repeated over and over again, such as pen, feathering, hue and saturation adjustment, blur, and motion blur.

Looking at these operations separately, I feel that they are very simple and difficult to achieve any effect. But when used well and in the right combination, the effect is amazing. As for how far it can be achieved, I can only say that it is an exaggeration. If you want to see examples, you can go to my homepage to see some of my PS illustration works. Click here to visit. There are also some commercial illustrations, which naturally produce better results because they take more time. However, due to copyright issues, they are still inconvenient to publish online.

In one sentence: Observation, start with the purpose, think clearly about what you want to do, instead of always asking, what can PS do, what effect can this function give me?

Thank you all.
Search for more posts on related topics: ps production examples photoshop tutorial

[Foreword]

Recently I saw someone asking how to express texture and light. This is a good question, which shows that everyone is beginning to pay attention to some real Techniques based on principles, rather than just techniques for the sake of techniques. This is of great benefit to the real improvement of PS. No matter how familiar the menus and panels are, why can’t they produce cool effects? I think this is a question that beginners often confuse.

Let’s put it this way, a word, wonderful, everyone knows what it means: wonderful. When everyone sees this word, they think of the wonderful feeling. However, this word is composed of the letters w,o,n,d,e,r,f,u,l. Memorizing these letters alone is boring, isn’t it? And there is no meaning after separation. What does this indicate when compared to PS learning? It shows that simple menu commands are boring and meaningless, and have no special functional skills. However, only when combined well can we create good works.
It seems that the combination is a mystery. Yes, the key to using PS well lies in the combination of small skills. So what is the soul of the combination? In other words, how can one come up with this combination? Derived from various principles in real life. How can I get it? observe.

Don’t take it for granted, here’s a question: Do you know the fuzzy commands in PS? (I know~) Okay, that’s a quick answer. Do you know the relationship between light and dark of a sphere? (Know a little bit), where does the dividing line between light and dark come from? (Alright) Reflection? refraction? Caustics? Diffuse reflection vs metallic reflection? What does reflection imaging look like? ()

This is why I have always wanted to write something that uses PS to express texture, but I find it difficult to do so.

Because expressing texture is really a matter of thought. If you know this thing is like this, just use any tool to express it. To put it bluntly, it has nothing to do with PS. I was afraid that I would go off topic, so I delayed writing.

So don’t have high hopes for this article, thinking that it will produce some exaggerated effect just by reading it. In fact, it is not the case. Frankly speaking, this article cost meI wrote it in the middle of the day, and the examples are also made up on the fly, and they are definitely not some cool or dazzling effects. But I want to tell you that freezing does not last for three days. If I teach you how to fish, I can only give you one big fish at most. If I teach you how to fish, you can learn how to build a net and catch fish.

Therefore, in a word, don’t dislike examples. This example is definitely a good teaching material that combines very subtle principles/operations. If you learn to do it step by step, it will definitely be of great benefit.

 [Basic Techniques for Texture Expression (Part 1)]

Software: We use the simplified Chinese version of ps7.01.
Material: Blank document, we have to make something out of thin air.

Okay, the preparation is complete, let’s get started. No, at first everyone wanted to see the recent effect. Although it doesn’t look very good (as mentioned in the preface), it is indeed worth learning. Let’s upload it first.


OK, seen it The rendering, as you all know, is a glass vessel. Why get such a random vessel? Because I don’t want beginners to fall into endless basic operations at the beginning, and these basic operations are activities that take time to practice, so just click , everyone can get started.

1. Path tool. I won’t say much about the path tool. Let’s go find Zhao Peng’s path termination tutorial. It’s very worth learning! We create a new document, then use gray as the background, then create a new layer and draw a closed curve shape with a pen. As shown in the picture:

2. Use ctrl+enter to convert the path into a selection, then fill it with a dark cyan color, cancel the selection, and lock the transparency of the layer.


3. People’s opinions on One source of the three-dimensional sense is the human eye’s ability to distinguish the distance of objects, and the other is the change in light and darkness of light. For most objects, the side that is illuminated by light is bright, and the side that is not illuminated by light is dark. Let’s describe the dark parts first. Use the pen tool to draw a path that covers the dark part we need (we assume that the light source shines from the upper left to the lower right).

4. After converting it into a selection, we are ready to darken this part. But darkening is a transitional change, not a blunt change in color. How do i do this? We hope that the area where the constituency functions will be transitional. what to do? We think of feathering. Feathering a selection will naturally produce a transitional selection, and applying a darkening operation to it will naturally be transitional.


5. The selection is feathered, and we need to make it darker. Use coloring? No, it’s too inconsistent with our habits. We should say: you make it darker, so it goes darker. What operation can do this? ctrl+u, hue and saturation command.


6. As you can see, the three parameters are in line with our thinking. Hue is color. I say this orange is red. If it is not yet ripe, it is green. This change is a change in hue. When it gets dark, the orange becomes grayer and darker, which is a change in brightness; saturation. ? Think of this with paint. Adding a little white to red will make it lighter. In other words, it will be impure, which is usually said to be pink. This is a situation where the saturation decreases.
We first need to reduce the brightness (it needs to be darkened, right?). When it becomes darker, it will look gray (black and subdued, of course, the saturation is reduced). Generally speaking, we still want the picture to be brighter, so We increase the saturation appropriately.

7. As you can see, the transition is very good. Generally speaking, in order to increase the three-dimensional effect, we should make the edges of the object darker. Load the selection of this layer, as shown in the figure:

Then we invert the selection and feather it. The feather value can be smaller, such as 10, because we don’t need too many transitions. And then it’s the same hue and saturation operation.

8. The dark part is basically completed, and the brightness is outlined using the same path.


9. First adjust the general highlights. What we need is a large-area transition, so the feather value should be higher, maybe 20.


10. Adjust the hue and saturationWhen doing this, remember to increase the saturation so that the color can be correct, otherwise it will turn white.


11. After the big highlight is a small area of ​​highlight. Also use a pen to mark a small area.


12. Remember There will always be reflection in the dark part, and when it is caught with the bright part, it will form the dividing line between light and dark of the object. Therefore, we need to select the reflective areas in the dark areas.

 13. Still feathering, adjusting hue and saturation again and again.

 14. Trim the shape to make it look like there is an opening.

15. How about adding some reflection to give it a clear reflection. This time use a new layer.


Adjust the transparency and change The color block is cut to create the reflection of a window.


16. It’s time to draw the shadows. Use the Elliptical Selection Tool to drag an elliptical selection.


17. Create a new layer, then fill it with black, and then use Gaussian blur to make the shadow edges not too sharp.


18. The shadow cannot be simply blurred. Due to the divergence of the light source, the shadow will not be a stable transition in all directions. We can use motion blur to deal with it, pay attention to the direction.

19. Let’s draw the inner wall and check the inner wall. We only need the top shape of the bottle mouth to be accurate, and the bottom part needs to be hidden with a mask, so the shape below does not need to be too accurate.

20. Same feathering, but after feathering, instead of adjusting the color immediately, we use ctrl+j to copy this part of the bottle as a new layer.



21. Darken this area and then add a mask , leaving only the upper part. It feels natural because of the masked transition.


22. The bottle mouth looks good. The bottle feels a bit transparent now. Also continue to work on the inner walls of the bottle. Note that the inner wall will be brighter due to reflection (this effect will occur when the bottle wall is thick and comes from reflection and total reflection). Select and copy it as a new layer (ctrl+j), and then adjust it to be brighter. As shown in the picture:


23. Adding the bottom of the bottle, the bottle looks transparent.


24. Caustics Make. As a glass bottle, there will naturally be refraction, and the refraction will be directly projected into the shadow, creating a faint light inside. We choose a bright color for the glass bottle, then draw an oval and fill it with that color.

25. Similarly, we use Gaussian blur and motion blur functions.


26. Duplicate one more caustics layer to enhance the light effect. This is basically complete.


 [ Summary: What inspiration can we get from it]
It is this simple little tutorial. The most basic operations are repeated over and over again, such as pen, feathering, etc.��Phase saturation adjustment, blur, motion blur.

Looking at these operations separately, I feel that they are very simple and difficult to achieve any effect. But when used well and in the right combination, the effect is amazing. As for how far it can be achieved, I can only say that it is an exaggeration. If you want to see examples, you can go to my homepage to see some of my PS illustration works. Click here to visit. There are also some commercial illustrations, which naturally produce better results because they take more time. However, due to copyright issues, they are still inconvenient to publish online.

In one sentence: Observation, start with the purpose, think clearly about what you want to do, instead of always asking, what can PS do, what effect can this function give me?

Thank you all.
Search for more posts on related topics: ps production examples photoshop tutorial

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