# The Art of Poser and Photoshop- P1

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## The Art of Poser and Photoshop- P1

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The Art of Poser and Photoshop- P1:Before you dive into the first chapter, be sure to download the content and images from www.chromeallusion.com/downloads.html. You will see the title of the book in bold and below that, you will find the files you need. Please download the files for each chapter and place them into a main folder named Tutorials. You will be asked to reference the images from that folder as you work through the tutorials throughout the book. Of course you will need Poser Pro and Photoshop CS4 as well....

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## Nội dung Text: The Art of Poser and Photoshop- P1

2. 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.
3. Acknowledgments 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 for their 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 great posing concepts. Thanks to the entire Smith Micro team, especially Steve Yatson, Sarina DuPont, Colin Gerbode, and Steve Rathmann for their patience and ever-growing encouragement and support. Also, thanks to Daryl Wise, who helped promote the idea of a Poser and Photoshop 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 sig- nificant upgrades that now includes 3D. I think that you guys are on the right track. A special thanks to the following Adobe team members: John Knack, Zorane Gee, Pete Falco, and Vishal Khandpur. Thank you for your support and knowledge. Thanks to the entire Wacom team for creating an excellent interface to the computer from which artists can create intuitively. Special thanks goes to Steve Smith, Scott Gustass, 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 a strong network of digital artists from whom I draw inspiration always.
4. 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. His studies led him to discover painting, where he embraced the works of the great Abstractionists and the Surrealists, including Jackson Pollock, Wassily Kandinsky, Pablo Picasso, 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, Aldus PhotoStyler, Painter, and finally Photoshop. He settled on Photoshop as his program of choice. 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 and growing, 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 to share an understanding of Photoshop so that his students can intuitively apply it to their creations. 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 using Photoshop 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, and CECUT Museum of Mexico, to name a few. You can see more of Stephen’s works at www.chromeallusion.com.
5. Contents 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
6. Contents vii 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
7. viii The Art of Poser and Photoshop: The Official Guide 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 Index 454
8. Foreword Stephen Burns’ art looks nothing like mine. I work in the entertainment industry cre- 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 to entertain. Stephen’s background is in photography, and he teaches digital art. I am talking 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 likely never 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 his office playing with all the new features trying to figure out how they work or where he can 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 legs and gaping maws starving for praise. Not Stephen; he wants to improve, learn, and then share what he learned with anyone willing to listen. You’ll find him combing over the development notes from the engineers, constantly trying to figure out new ways to improve his workflow and add new, creative effects to his art. With the new 3D layers features in Photoshop CS4, Stephen was happy as a child who inherited a toy store. He spent months testing it for Adobe and Smith Micro, trying to get the two programs to play nice with each other and create stunning images. All along he was taking notes and learning. 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 new from his books. Stephen is an educator. His enthusiasm for learning new techniques is surpassed only by his passion for sharing what he has learned. If you are not lucky enough 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 find something new and inspiring in the following pages. Lee Kohse Pixel Defiler, Creative Director, BloodFire Studios www.kohse.com (www.bloodfire.com)
10. Introduction xi I have always proclaimed that there is a new movement in art, and it is digital. The cre- ation of all visual art forms is available to the general public in the form of computer software. This book will share some dynamic possibilities for creating with Photoshop CS4 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 of this new medium.
11. Chapter 1 Poser and Photoshop Interface Overview 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
12. 2 The Art of Poser and Photoshop: The Official Guide As computer programs continue to develop, the companies that create them are begin- ning to understand the importance of an intuitive interface. Today’s user demands that digital programs be easy to use and exciting to work with. Photoshop is one of the most intuitive 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 the model’s surfaces, including diffuse, specularity, bump, and reflections surfaces. You can add and edit light sources. You can apply surface changes to the meshes. Another huge improvement is the ability to have both 32- and 64-bit versions on a 64-bit machine. System Requirements for Poser and Photoshop Here are the system requirements to run Photoshop CS4. You can also find these requirements 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) or Windows Vista Home Premium, Business, Ultimate, or Enterprise with Service Pack 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 dur- ing installation (cannot install on Flash-based storage devices) ■ 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 and OpenGL 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 dur- ing installation (cannot install on a volume that uses a case-sensitive file system or on Flash-based storage devices) ■ 1,024×768 display (1,280×800 recommended) with 16-bit video card
13. Chapter 1 ■ Poser and Photoshop Interface Overview 3 ■ Some GPU-accelerated features require graphics support for Shader Model 3.0 and OpenGL 2.0 ■ DVD-ROM drive ■ QuickTime 7.2 software required for multimedia features ■ Broadband Internet connection required for online services Poser Pro has also made some wonderful strides in being a 3D program that not only has an exciting interface but also has an ease of functionality that has been popular with artists since its creation. Smith Micro continues to revolutionize 3D technology whereby even inexperienced users can quickly create and produce 3D applications with very lit- tle learning curve. Poser Pro is such a program. Poser Pro requirements on Windows are as follows: ■ Windows XP or Vista (64-bit OS required for 64-bit rendering) 700MHz Pentium class or compatible (1GHz or faster recommended, 64-bit CPU required for 64- bit rendering) ■ 512MB system RAM (1GB or more recommended) ■ OpenGL-enabled graphics card or chipset recommended (recent NVIDIA GeForce and ATI Radeon preferred) ■ 24-bit color display, 1024×768 resolution ■ 1GB free hard disk space (4GB recommended) ■ Internet connection required for PoserPro.net and Content Paradise ■ DVD-ROM drive ■ Hosting plug-ins require a valid installation of their respective host application: Maxon CINEMA 4D R9.6-10.5 (64- and 32-bit), Autodesk 3ds Max 9-2008, 2009 (64- and 32-bit), Autodesk Maya 8.5-2008 (64- and 32-bit), Newtek Lightwave 9.3, 9.5 (64-, and 32-bit) Poser Pro requirements on the Mac are as follows: ■ Mac OS X 10.4 or 10.5 (10.5 required for 64-bit rendering) ■ 700MHzG4 processor (Intel Core Duo or 1GHz G4 or faster recommended, 64- bit CPU required for 64-bit rendering) ■ 512MB system RAM (1GB or more recommended) ■ OpenGL-enabled graphics card or chipset recommended (recent NVIDIA GeForce and ATI Radeon preferred) ■ 24-bit color display, 1024×768 resolution
15. Chapter 1 ■ Poser and Photoshop Interface Overview 5 Figure 1.1 Photoshop interface This functionality gives users easier ways to navigate images within Photoshop’s inter- face and makes creating digital images more like working with traditional media. One of the complaints of artists over the years has been that the digital medium does not allow them the flexibility that they have with traditional mediums. One important aspect is the ability to move and rotate the canvas. Traditional artists are used to work- ing with their canvases and drawing boards in such a way that they can rotate and move them around to easily reach areas of the image that they choose to enhance. CS4 addresses this need with the new Rotate View tool, shown in Figure 1.2. Just activate it, and you have the ability to freely rotate your canvas and begin working at will. In addition, the new interfaces provide a better way to access multiple images that are already opened within the CS4 interface. Figures 1.3 and 1.4 show examples of the Arrange Document command in use.
16. 6 The Art of Poser and Photoshop: The Official Guide Figure 1.2 Applying the Rotate View tool Figure 1.3 A view of the Arrange Document command in action
17. Chapter 1 ■ Poser and Photoshop Interface Overview 7 Figure 1.4 A different view of the Arrange Document command in action The Arrange Document command gives you a variety of layouts to choose from, so you can use a layout that you are most comfortable with. Figure 1.5 shows an exam- ple of the Float in Windows mode. The tabs shown in Figure 1.5 can be split between multiple windows. You simply click on one of the tabs and peel it off into the open portion of the document, and it will become a new window. To add more tabs to the new window, you simply click on the one of the remaining tabs and drag it into the new document. You will now have multiple documents with multiple tabs, as shown in Figure 1.6. Let’s take a look at the Tools bar. If you click on the Paint tool, as shown in Figure 1.7, the options for this tool will become active, as shown in Figure 1.8. Keep in mind that these options are important because they give you full access to all of that tool’s capa- bilities. So when you choose to use any of these, make it a habit to look at the Tools bar for the complete set of tools related to the command. Also, notice that the Tools bar is divided into several sets (see Figure 1.9A). The first set of tools contains the selection tools, which allow you to select an area on the image and then restrict Photoshop’s commands and tools to that region alone. The next set contains the painting tools, including the Healing Brush tool, Paintbrush, Clone Stamp tool, Eraser tool, Burning and Dodging tool, Gradient tool, and the Smudging and Blurring tools (see Figure 1.9B).