Introduction
In this tutorial, I will include the importance of the theory “Form Follows Function” and talk about the working process from 2D concept to 3D final design. Blender has been used as a tool to try out various compositions and integrate different props into a final scene in Photoshop.
That is the ultimate picture of this mission that illustrates how completely different props combine collectively.
Arrange remaining scene
After modeling and texturing all of the props, I arrange a digital camera to decide on a most well-liked angle. My Mac stored lagging when engaged on this scene because the file was too large with many polygon meshes. At this stage, the foreground was lacking and my {hardware} couldn’t deal with it. To unravel this downside, I made a decision to complete the foreground in Photoshop that will be talked about in step 4, utilizing photobashing approach. Moreover, I enabled “Ambient Occlusion”, “Bloom” and “Display screen Area Reflections” in Render Properties for having a greater rendering outcome.
Combine all of the props collectively and activate render settings
Modify settings & render passes
I normally change the scene measurement to 130% to 150% for a better high quality picture. Earlier than engaged on the ultimate scene in Photoshop, it’s essential to render a number of passes corresponding to Eevee render, object ID, AO, mist, and depth of area. As the method of making depth of area shouldn’t be the identical as others, simply enabling passes in View Layer Properties, I’d discuss concerning the particulars in subsequent step.
Change scene size and turn on passes settings
Depth of field basics
I firstly set up two workspace windows side by side, opening Compositor and UV Editor. After that, I changed Render Result to Viewer Node in UV Editor. Next, I moved to Compositor section and input 2 new nodes, Normalize and Viewer, to connect with Depth in Render Layers Node. Blender would afterwards automatically calculate the depth between foreground to mid-ground and background.
Add further nodes in compositor and render depth of area in UV Editor
Add background
After rendering all of the passes in Blender, it was prepared to leap to Photoshop. Because it was in area, I added some stars in and manually managed the quantities of stars in layer masks by utilizing a comfortable brush. Subsequent, I set the mix mode to Colour Dodge to make them look shinier.
Add stars into the scene
Clipping masks
This clipping masks approach is identical because the step in chapter 2 step 7. I painted a strong form and masked the main points on high, trying to find Earth texture first and portray over to wash up the photograph noises. Then, I picked an air brush to attract a glow round it and set the mix mode to Lighten or Colour Dodge relying on remaining outcome.
Add an Earth in by using the clipping mask technique
Environment immersive
The image was a bit flat at the moment, so I separated the layers and created depth in between by adding some mist around with soft textured brushes. To pop up the focal point, I lightened up the main structure in Color Dodge blend mode and adjusted the opacity to 37%.
Create depth in between layers by including mist
Work on foreground
My preliminary thought of the foreground was to create a platform or some unused area equipments. I blocked out the silhouette first and tried to border the area station with some sharp edges pointing in direction of the focus. After that, I photobashed the main points and glued the general shapes additional.
Add foreground with large shapes and work on particulars afterwards
Refine particulars
The general composition was nearly there however one factor I spotted was that the hole between the foreground and the area station was fairly large. Due to this fact, I added a easy irregular form to guide eyes to the focus. As well as, I inserted extra lights right here and there to make the drawings look extra balanced with extra particulars.
Add extra particulars to make the drawing look extra attention-grabbing
Explosion results
The picture was primarily in a single tone in blue colour, so I wished so as to add one thing completely different that basically popped up the focus. Within the colour wheel, yellow is in reverse to blue and I believed that the yellow colour labored properly on this scenario. To satisfy this concept, I added the explosion results with some tiny particles. This not solely made the drawing look extra colourful, but additionally confirmed one thing occurring there as properly.
Present a greater storytelling with particular results
Colour grading
The final step was to regulate the general colour grading. Personally, I favor utilizing the black and white methodology to double examine the values and tones. To brighten it up, I added highlights with a little bit of pink whereas utilizing the gradient device in Delicate Mild mix mode to darken the remaining components.
Fix the overall brightness and contrast in grayscale
Shortcut of grayscale setting
This shortcut is handy to check the drawing values and tones in grayscale. Here are the steps to set it up.
Step 01: Go to Proof Setup under View and click on Custom
Step 02: Select “Working Gray – Dot Gain 20%” in Device to Simulate
Step 03: Create keyboard shortcut. Go to Keyboard Shortcuts under Edit, and then change the shortcut name you prefer in Proof Colors.
Three steps to set up the grayscale setting
