The Art of Poser and Photoshop- P9

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The Art of Poser and Photoshop- P9

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The Art of Poser and Photoshop- P9:Before you dive into the first chapter, be sure to download the content and images from 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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  1. 228 The Art of Poser and Photoshop: The Official Guide Figure 5.12 The Levels adjustment layer settings 9. Access the tutorials/ch5 folder. Open the texture.jpg image. Use the Warp com- mand to shape the texture to reflect the convex shape of the concrete slab. Change the texture’s blend mode to Darken so that the richer detail on the texture matches the dominant areas on the concrete slab. Give this a layer mask and isolate the effects of the texture to the stone areas. Figure 5.13 displays the results with the layer mask turned off and Figure 5.14 displays it turned on. Be creative and experiment with this. Don’t be afraid to achieve something slightly different from what you see in this example. Apply the same technique to the upper concrete slab. 10. Open the streaking clouds.jpg image from the tutorials/ch5 folder. Open your stone detail layer group and place the streaking clouds.jpg image below the protruding rock detail. Apply the Levels adjustment layer settings as shown in Figure 5.15 to in enrich the sky detail a bit. Next, apply smart filters of Gaussian blur and motion blur (choose Filters > Convert to Smart Filters) to the sky image, as shown in Figures 5.16 and 5.17. 11. You’re going to apply the same technique to the protruding stone structures in the background. Select all of layers that represent the vertical stone structures and merge them into one layer (Ctrl+E/Command+E), as shown in Figure 5.18. It will help you if you turn off the glass tube layer group temporarily. 12. Next, apply a smart filter of Gaussian blur (choose Filters > Smart Filters > Blur > Gaussian Blur). See Figure 5.19.
  2. Chapter 5 ■ Advanced Nodal Texturing in Poser 229 Figure 5.13 View of the texture with a mask turned off Figure 5.14 View of the texture with a mask turned on
  3. 230 The Art of Poser and Photoshop: The Official Guide Figure 5.15 Apply a Levels adjustment layer as well as the smart filters of Gaussian blur and motion blur Figure 5.16 View of the Gaussian Blur dialog box Figure 5.17 View of the Motion Blur dialog box
  4. Chapter 5 ■ Advanced Nodal Texturing in Poser 231 Figure 5.18 Merge the stone structure Figure 5.19 Give stone structures a Gaussian blur smart filter
  5. 232 The Art of Poser and Photoshop: The Official Guide 13. The color in the sky is saturated to the point that it competes with the fore- ground imagery, so apply the following settings for Levels and Hue/Saturation adjustment layers to desaturate and tone down the highlight details. See Figures 5.19 through 5.22. Figure 5.20 Visual results of the adjust- ment layers applied to the sky Figure 5.21 Display settings for the Levels adjustment Figure 5.22 Display settings for the Hue/Saturation layer adjustment layer
  6. Chapter 5 ■ Advanced Nodal Texturing in Poser 233 Making Further Modifications to the Glass Tube When you originally created the transparent tube detail, the highlights on the side had a dark gray and black gradient. This was fine in the beginning because it helped you to keep track how the shape was going to respond to the landscape as you were creating it. But eventually you’re going to create a figure with a light coming from within his body, so now you will alter the gradient so that the tube appears more luminous. Let’s have some fun. 1. Navigate to your glass tube layer group that represents the gradient highlights on the outer edge of the tube and activate its Layer Style dialog box. Change the gra- dient colors from the black-to-gray gradient that you’ve already created to a deep blue that radiates to transparency, as shown in Figure 5.23. To give the outer edge of the glass a more luminous effect, change the gradient’s blend mode to Color Dodge and click OK. 2. Next you’re going to create metal bands across the bottom and top of the glass tube to show a point of connection. Place this detail above the layers to represent the transparent tube. Start by opening the texture 02.jpg file. Use the Rectangular Marquee tool (M) to select the vertical, slender strip on the right side of the strip texture, as shown in Figure 5.24. Use the Free Transform tool (Ctrl+T/ Command+T) and the Warp tool (choose Edit > Transform > Warp) to shape the texture around the base as well as the top of the transparent tube, as shown in Figure 5.25. Figure 5.23 Create a gradient that radiates from deep blue to transparent
  7. 234 The Art of Poser and Photoshop: The Official Guide Figure 5.24 Select a portion of the texture to be used as the metal bands around the tube 3. Duplicate the newly created support bands and place them so that you create the backside of the metal support, as shown in Figure 5.26. Place these bands under- neath the transparent tube layers so that they create the backside of the cylinder. Figure 5.25 Wrap the tex- ture around the base and top of the tube
  8. Chapter 5 ■ Advanced Nodal Texturing in Poser 235 Figure 5.26 Apply the metal band to the backside of the cylinder 4. Create a circular marquee that outlines the elliptical shape of the top of the metal bands. Stroke the marquee by 10 pixels with medium gray (choose Edit > Stroke > Stroke with Medium Gray). Now, add some noise (choose Filters > Noise > Add Noise) with an amount of 65% to add some grain. Afterwards, add some motion blur (choose Filters > Blur > Motion Blur) to give it some linear texture. Use a dis- tance of 85 pixels. Finally, use levels to add more contrast and character to the shape. This is a good time to add a drop shadow beneath the metal strips. Just create a new layer that should be placed underneath the metal rings. Use the paintbrush to apply the shadow and change the blend mode of the layer to Multiply. See Figure 5.27. Figure 5.27 Completed view of lip added to ring with drop shadow
  9. 236 The Art of Poser and Photoshop: The Official Guide Figure 5.28 shows the overall view of the completed scene. Export your background as a JPEG image so that you can use it as the reference for the next tutorial. When you’re asked to give it a name, call it ch5 background.jpg. Let’s move on to create the character. Figure 5.28 Completed view of scene Creating a Character in Poser Pro Let’s go back into Poser Pro and create the character that you need for this chapter. You’re also going to learn how to access an extensive online library of 3D content. Let’s proceed. If you look at the top-right side of the menus in Poser, you will see a tab that is labeled “Content.” Smith Micro has an extensive online catalog of characters, props, poses, expressions, and much more. You’re going to select a character that does not come stan- dard with Poser Pro and use it as the basis for this tutorial. You will notice that some characters have different body styles. Kelvin was chosen for this tutorial because his body
  10. Chapter 5 ■ Advanced Nodal Texturing in Poser 237 by default was designed to have a more muscular stature. You are welcome to use the default James character if you prefer. In addition, a final rendering of Kelvin completely textured has been provided for you to use, so either way you’ll be able to continue in this chapter. The purpose of sharing with you the online content is to make you aware that there are myriad other options that Smith Micro has provided in anticipation of all of your creative needs. 1. Click on the Content folder and view the options, as shown in Figure 5.29. On the menu to the left, select Get Content to view all of the options. Next, select G2 Males. In the larger window on the right side, you’ll see a selection of thumbnails. This example uses the African body style called Kelvin. In this example, the G2 Super Bundle is downloaded to the hard drive as a ZIP file (see Figure 5.30). Double-click on the ZIP file to open it in Windows or in Stuff-It if you’re on a Mac. Inside you will see a folder entitled “Runtime.” Within this folder is everything Poser needs to access the model and all of his attributes. Copy the Runtime folder (Ctrl+C/Command+C). Paste the Runtime folder into the Poser program folder (C:/ Program Files/Smith Micro/Poser Pro/Runtime on Windows or Poser Pro/Runtime on the Mac). See Figure 5.31. If you’re asked to replace the current files, click Yes. Your operating system will proceed to add any new files to the Runtime folder. Figure 5.29 Access the Content menu and explore the options
  11. 238 The Art of Poser and Photoshop: The Official Guide Figure 5.30 View of the downloaded G2SuperBundle folder Figure 5.31 Place the Runtime folder in the Poser Pro program folder
  12. Chapter 5 ■ Advanced Nodal Texturing in Poser 239 2. You will now have access to new the figures in the figures library. Navigate to the G2 subfolder and then double-click on the Kelvin G2 thumbnail, as shown in Figures 5.32 through 5.34. 3. Enhance your character’s muscular structure by accessing its parameters and select- ing Mesomorph. Give this an adjustment of .80, as shown in Figure 5.35. 4. Now it’s time to bring in your background as a reference. Because the character is going to be inside the transparent tube, bringing in the background will help final- ize the pose. Poser Pro has provided you with a library of poses that you can apply to your characters by double-clicking on the thumbnail of the particular pose. In this exercise, you choose a preset as the basis for the final pose. Figure 5.32 Navigate to the Kelvin G2 subfolder Figure 5.33 Click on the Kelvin G2 thumbnail
  13. 240 The Art of Poser and Photoshop: The Official Guide Figure 5.34 Imported Kelvin G2 figure Figure 5.35 Apply muscle to Kelvin G2
  14. Chapter 5 ■ Advanced Nodal Texturing in Poser 241 Go to the Poses library and navigate to the Comic Book subfolder. Double-click on the Hero Action 08 thumbnail to apply this pose to your character. Use the rota- tion tools to place the character in the upright position, and then pose his arms and legs to match what you see in Figure 5.36. Figure 5.36 Apply the background to help finalize your pose
  15. 242 The Art of Poser and Photoshop: The Official Guide Saving Your Poses for Future Use Once you’ve spent a lot of time shaping your character, you will want to add it to your library so you can use it later if you want. Follow these steps to save any of your poses in the Poses library: 1. Access the Poses submenu and select Add New Category. See Figure 5.37. 2. Next, give the category a name. In the example shown in Figure 5.38, it is called “Custom Poses.” Figure 5.39 displays the newly created custom folder alongside the default folders in Poser Pro. 3. Double-click on this folder to access its contents. Currently there is nothing inside; however, you’re going to add the pose that you’ve just created. At the bottom of your Library palette you will see a plus symbol. Click on this symbol. When the dialog box requests a title for the new pose, call it “Heroic Stand,” as shown in Figure 5.40. 4. In the next panel, make sure that Morph Channels and Body Transformation check boxes are both checked and then click OK. See Figure 5.41. 5. When the Save Frames dialog box appears, click the Single Frame option button and click OK. See Figure 5.42. Figure 5.37 Choose Add New Category from the Figure 5.38 Apply a name to the newly created menu category
  16. Chapter 5 ■ Advanced Nodal Texturing in Poser 243 Figure 5.39 Your newly created custom folder Figure 5.40 Name the new pose Heroic Stand Figure 5.41 Select additional pose information Figure 5.42 Choose Single Frame from the Save Frames dialog box
  17. 244 The Art of Poser and Photoshop: The Official Guide That’s it. Open the Custom Poses panel and you will see a thumbnail of the new Heroic Stand, as shown in Figure 5.43. Figure 5.43 View of the custom pose Poser Pro’s Advanced Nodal Texture Engine In this section, you’re going to explore the more advanced aspects of texturing a 3D model by using Poser Pro’s Advanced Nodal Texture engine. All of this is done from the Material room. When you select any part of your character, you will see a texturing panel officially called the PoserSurface panel. Within this panel are individual channels that apply the surfacing attributes. You will see channel attributes such as Color, Specular, Diffuse, and Bump, to name a few. Onto these attributes you can attach what are called nodes. Each node will perform a certain function or functions to alter or enhance the attribute that it is attached to. Nodes are basically individual texturing engines. All of this is done visually with a flow-chart formulation. Let’s go on to explore the power of nodal texturing. Figure 5.44 shows the character without a textured surface. 1. Access the Material room. You’re going to start with a predefined texture and mod- ify this texture to get a slightly different look. As you can see, the Material room has quite a few options for you to choose from. It provides textures that can assist you in creating earthy elements such as stone or brick, glass elements for trans- parency and refraction, or smoke and fire to name a few. Scroll through this library and experiment with as many textures listed as possible. It is highly recommend that you use simple objects or primitives at first to give you a better idea how the texture is being applied. You’re going to do this in this tutorial, but first, select the Fire 2 texture (see Figure 5.45) and apply it to your character. Take a look at the PoserSurface panel. The texturing that you see on the model is created through the Alternate_Diffuse channel. Attached to this channel is the Color Ramp node.
  18. Chapter 5 ■ Advanced Nodal Texturing in Poser 245 Figure 5.44 View of the character without texturing Figure 5.45 Apply the Fire 2 texture preset to the character Connected to the Color Ramp node is a procedural texture called Turbulence. Connected to the Turbulence node is a math function called Math Function 3, and so on. Do a render to see the effects of the Fire 2 preset on the 3D object (Ctrl+R/ Command+R). See Figure 5.46. Save this Poser file and close the current document. See Figure 5.47. 2. Let’s explore a practical application of this texturing system. It’s easier to understand this concept if you use simple objects instead of complicated ones like the figures that Poser Pro supplies. So, create a new document (Ctrl+N/Command+N) and delete the current figure. Add a primitive by accessing the Props library, as shown in Figure 5.48. You will see several primitive objects; double-click on the cube, shown in Figure 5.49. Take a look at the PoserSurface panel. Make sure that the visual aspects of the panel are turned on so that you can see the result of the cur- rent texture with the current lights. See Figure 5.50.
  19. 246 The Art of Poser and Photoshop: The Official Guide Figure 5.46 View of the Fire 2 Nodal layout Figure 5.47 Figure 5.48 View of the View of the Fire 2 texture Props library on the model
  20. Chapter 5 ■ Advanced Nodal Texturing in Poser 247 Figure 5.49 The Cube primitive is dis- played through the Main camera 3. Let’s play around with these textures to get familiar with how they are working on the 3D object. Use the Diffuse_Color channel and practice altering the color, as shown in Figure 5.51. Figure 5.52 displays a shade of blue overlaid onto the surface. Note You will be dealing with two types of textures—procedural and image-based textures. Procedural textures are vector-based textures that work in a 3D space. For example, imag- ine having a slice of cake. The texture of the cake has a spongy consistency throughout. It doesn’t matter how many times or in what shape you cut the cake; the texture will remain consistent throughout. So, procedurals are mathematical functions that continue the same texture throughout the shape of the object. Image-based texturing techniques, however, use raster-based imagery to apply textures to the surface of the 3D model. Raster-based imagery is created using pixels, usually derived from photographic images or scanned imagery. These images are simply projected onto the surface of the model. They are not generated internally like procedural textures.
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