Architecture Digital Collage : Communicating architecture in a compelling way | Steven Rubio | Skillshare

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Architecture Digital Collage : Communicating architecture in a compelling way

teacher avatar Steven Rubio, Architect, Visualizer and teacher!

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

45 Lessons (3h 5m)
    • 1. Welcome Video

    • 2. Lets get to know each other!

    • 3. Brief background of the Architectural Collage

    • 4. Mies Van der Rohe and his collage

    • 5. Artistic influences on the architectural collage

    • 6. The architecture collage of the 70s

    • 7. The new wave of collage

    • 8. Conclusions of the history of collage

    • 9. Mood Board and References

    • 10. Creating a mood board

    • 11. Creating a preliminary drawing

    • 12. Final thoughts on mood boards

    • 13. Introduction to texture library

    • 14. Different sites to download textures for your images

    • 15. Folder structure for organizing files

    • 16. Elements to look for when downloading an image

    • 17. Takeaways from folder structure

    • 18. What takes the most time to edit

    • 19. 5 Beginner Shortcuts

    • 20. 5 Intermediate Shortcuts

    • 21. 5 Advanced Shortcuts

    • 22. Conclusion on PS Shortcuts

    • 23. Introduction to exporting renders from sketchup and vray

    • 24. Creating a scene in sketchup

    • 25. Creating a base render in VRAY

    • 26. Exporting image in different channels

    • 27. Importing into photoshop and setting up a folder

    • 28. Export line drawings from sketchup

    • 29. Key takeaways for exporting base renders

    • 30. Importing and adjusting textures into photoshop

    • 31. Cropping a canvas and adding a background

    • 32. Importing roof texture and creating masks

    • 33. Applying different concrete textures and solving problems

    • 34. Colorizing textures and adding the sky

    • 35. Key takeaways for adding textures in photoshop

    • 36. Adding vegetation and people

    • 37. Foreground vegetation

    • 38. Background and Middleground vegetation

    • 39. Adding people and animals

    • 40. Conclusions on adding entourage

    • 41. Final Adjustments of an image

    • 42. Final touches and reviews

    • 43. Best export settings

    • 44. BONUS Creating a GIF

    • 45. Conlusions on the digital collage

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About This Class

Hi there my name is Steven, architect and lover of architectural representation. On this class you will learn how to create a Digital Architectural Collage. From a brief history of architectural collage, creation of color palettes and mood boards, all the way to exporting and setting your scene in sketchup, importing it to photoshop and creating breath taking and visually pleasing results. You will also learn the reasons why an architect should know how to create collage images and what is the best practice to do it effectively. The lessons cover:

  • Brief Architectural Collage Background
  • Discovering References
  • Photoshop Shortcuts for better workflow
  • Sites to download textures
  • Importing Textures and Applying them to your image
  • Creating basic renders in vray
  • Adding vegetation and entourage
  • PLUS bonus segments on Creating a GIF with your image.

If you are an architect, architecture student, landscape architect or just are interested in digital collages, then this course is for you! It is for Beginner to intermediate levels in Sketchup, Vray and Photoshop.

You will create a breathtaking post digital collage that will lead your portfolio in a great direction!

Meet Your Teacher

Teacher Profile Image

Steven Rubio

Architect, Visualizer and teacher!


Hi! My name is Steven Rubio. I am an architect, visualizer and teacher creator of Show It Better. I love architectural representation and one of my bigger goals is to teach every architect and architecture student the importance of architectural drawing for your projects. From theory to practice, I am just obsessed with teaching and educating the things I have learned in life of architectural representation. 

See full profile

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1. Welcome Video : architectural representation is a product in itself. When we as architects learn to represent our projects better, they can be understood better. In the end, Therefore built better. Hi, my name is Steven Rubio. I'm an architect. Visualize er in a design. Have more than six years experience in the areas of teaching the years of architectural, visualisation and designing. And today I would love to take you in the journey of the architectural digital collage. I think it is important that we all learn how to use it, learn and spacing concepts and how we can apply it to our own projects. So in this course, you will learn the basics of Adobe four shop, the basics of sketch up and V rate, and you will be able to pop out, you know, conceptual basic images from sketch up and be right into Photoshopped. Then we'll be able to create and analyse what type of image we want, What mood board between created what color palette is best for us and then start applying it to our own image. At the end of this course, you will be able to create your own visual digital collage for your own architectural project and have a set of tools along with a set of resource, is provided by us to improve your architectural workflow in visualization. So if you're an architect, a landscape architect, a visualize er, or maybe just someone that wants to create digital collages off architecture, I invite you to this journey with me, so let's have some fun. 2. Lets get to know each other!: Okay. So are you guys ready to start our own architectural digital collages before we start with the class? I want to invite you first to present yourself in the comments. Tell us who you are if you're student, an architect or just a creator that wants to learn digital collage. I also encourage you very much to create your own digital image with me and step by step. We will see and confront you know anything, Any problem that we have. I will try to be there as president as possible. If you have any questions, you have anything that I can help you with. Please type it in the comments in question section and I will try to help you as fast as possible, So let's get started. 3. Brief background of the Architectural Collage : so welcome to the first section on a brief history of the architectural collage. In this section you will learn why the architectural collage is important for us as architects. How art has influenced our architectural collages. What? How is the new wave of architects that are trying to represent architecture in a different way, different from hyper realistic renderings and classical drawings? And at the end, we're going to see you know, what other takes away of this takeaways for us. 4. Mies Van der Rohe and his collage: Let's start talking about Mies van der Rohe. I know as architects we have a ton of information on him on his buildings, on his awesome craftsmanship, on his way of designing and building most of modern architecture in the best, cleanest and serious way possible. But sometimes we aren't at. In a form of are the picture of Mies van der Rohe's way of drawing, of communicating his ideas. So the thing I want to talk about here is the collage of Mies van der Rohe. Mies had a way, a special way of representing his architecture. He knew that in the time that he was trying to build different types of architectures, couldn't represent them in the same classical way of creating drawings. He had to invent another way in that he was going to find in art. So with the use of the collage technique, he started representing his projects and with different types of collages, so he would have different types of photography and superimposed different drawings from his projects. The interesting thing about this is that his projects, his collages are almost the same essence that his buildings have on us, So I think that's the important thing that we have to take away from Mies van der Rohe. So it wasn't just a simple collage. He didn't just gather up images and make them in tow his project or how he was going to sell this project. But his drawings, his collages, trying to represent the essence of his architecture. So if his architecture was minimal, if it just was understood by materials, it was just framing a landscape. He wanted to do the same thing with his digital collage with his with his collages, drawings. So that is basically the goal here. We don't want to create a clause just to create a collage. We want to create a collage that represents our architectures that represents our way of seeing life, and that is very in touch with our waves of creating architecture of designing. So if we're just gonna make collages, you know, just to make them, then maybe they will look that good at the end. Or maybe that they will have that have so much spirit at the end. The idea is that we we quickly we create drawings that have the same essence of our buildings, have the same essence of our personality and how we see life so that so I suggest we all take another look. And me Is that Rose Clause drawings and see how we can take from that into our own drugs. 5. Artistic influences on the architectural collage : So before talking about other important architects that use collage in different types of techniques for their projects, we need to talk about something different than architectures. We need talk about heart because art is where much of the inspiration for the clauses come from, right are just like David Hockney. Artists like a Hopper artist, maybe close inclusively like a like Picasso or many more were very key components for architectural presentation and for people who want to want to represent there are situated different way. So if we look at David Hockney's paintings, he he set up his architecture, his California and table for connection in a very perfect, very minimalist kind of way with human figures that, you know, it just fit in in the whole image. And he had a specific color palette of color palette that was very from California, right? So it was a lot of pinks off blues from different pools and a lot of greens, so that it was his color palette. And I think when we analyze David Hockney's different kinds of paintings, drawings, photo collages, we can take some information from that, you know, about OK, so he used this specific color palette. How can I creating my own color palette for my context? If I live in I know Columbia live in Columbia. I have maybe a set of greens instead of, you know, very warm colors. Another artist is maybe David Hopper. Or maybe we can find inspiration in some movies, some text, and we can all see how we can apply that information to architecture drawing. So the invitation here is not to only stay in our world of architecture er and architecture super architects, but that we go outside of this world and we look at different artists. Maybe we can look at musicians. Maybe we can look at different films with me. We can look at, you know, different kinds of cinema and from them can gather some inspiration on visual presentation , maybe some specific techniques, and we can gather those and represent them in their collages. We can get inspiration from Hockney from Hopper, but we can also get inspiration from from raw file can also get inspiration from Picasso. We can also get inspiration from Francis Bacon, so it really depends on what kind of thing what kind of things you want to portray in your drawings and artists and art will help you get to that 6. The architecture collage of the 70s: Okay, So now, after the whole wave of Mies van der Rohe Kalash style drawings came a very important wave in about mid seventies two A's. So this was most of all the post modern area, the postmodern era. They were kind of tired of the whole modern movement. They wanted to express different things that had to do with, you know, the error they were living in the context that they were in. So for people like our offices, like many, maybe, although Rosie maybe maybe Zaha Hadid, maybe Frank Gehry. They all wanted to represent architecture. They want to talk about architecture in a different way, and also that included architectural representation. So if we start to look at oh amaze drawings for their competitions, they had color for collaborations, obviously with Madelon Reason Door, which was part of the only OM a team in that moment. And she had thes beautiful paintings that technically weren't as collage style. But they did try to step out of that normal and traditional way of representing architectures. So if we look also at, although Rosie's paintings he grabbed gathered a lot of inspiration from Italian artists, maybe specifically like that fecal, and he started using these colors thes basic but prison prisms. And these basics way of representing to represent his own architecture and his own intent and not to go too far from there can also see Sauce himself, Samosa Hadid's first drawings and buildings. She got a lot of inspiration from Russian art from Russian Constructivist artist. So after this she created different forms of Arctic for presentation. So the idea here is not to only create, you know, technically collages or renderings, but to ask ourselves, you know what, can what art? You know what what is outside that can represent how I feel about this architecture, how how I want to design and try to bring some of that you know, some of that essence into our drawings and into our way of making architectures. 7. The new wave of collage : Okay. Finally. It's time to talk about the NuWave, right? Why are we going back to digital collages? Why? Why are we going tactical lodges? Why is it interesting again? Right? So obviously, after this post modern area off May of Zaha people, after the advancement of digital technologies, we were able and capable off rendering better rendering faster. We had some very high. We have some very hyper realistic images that are no baked in kind of a matter of seconds. And they, you know, you can't distinguish them from a photography or from reality. So some people, some architects, that you said like, Well, you know, that's not the essence of architectural representation. We're not here to be the same as a photograph. Photograph is different, right? A reality is different. Our way of looking architecture or presenting a project is through our way of representation in that specific presentation. So maybe some hardest. Like some Mexican artists, domestic and architects like Palma. Some artists like a fallout year, which are, you know, one of the most popular right now. They started to use collage as their basic and only way of representing their projects, right? So they started to gather inspiration from David Hockney's paintings, and they started to use very minimal texture. Is very a unique set off color palettes, and they had. They also have a way of creating architectures, so that is well represented and they're drawing. So the idea is to also, you know, understand why are we going back to digital digital collages? And you know, if it's in a good way, then how can we right now make digital collages that are not copies of other ones, but but are just creations of our inspiration in the things that we feel inside? And I think that we need to communicate in the best way possible to our clients, to our teachers in to basically world. 8. Conclusions of the history of collage: So what are the key takeaways from this section? Right? We understood that the collage is not only something from architecture. The architecture collage gathers a lot of inspiration from art. We learned a few artists that have inspired the architectural world to create more collages , and we also learn a few architects. We only named a few that were very well known for their digital collages for the representation you know, architects from Mies van der Rohe all the way to go, May and Duroc and up here to now from to follow at the rear. And why not? You can be the best. You could be the next one. So the invitation with this section is to understand much more on architectural history and theory of representation. So before we start learning techniques before we start learning, Photoshopped sketch up in the rate. Let's just grab a book. It's just grab a book and look for some inspiration. For example, right here I have a book on photography, right? This is a photographer from but with that took a lot of awesome photography's about the sixties. So as you guys can see here, we can see some awesome inspiration for our own architecture, drugs for our architectural renderings, right? And basically, sometimes they're not the same photography. So sometimes we can use these elements and collage them into our own drawings. So it's going to our next section and talk about mood boards and references. 9. Mood Board and References : before we start with our technical collage, we need to have some concept, some references. And for that we could create a mood board. So in this section, we're going to learn how to create a mood board, how to get gather some references and from those references, have a our own color palette for our project. And also we are going going toe inaccurate. A preliminary drawing. So this is a bonus course. Well, we worse will create a preliminary drawing off. What are architecture Klaus can look like And how it can be improved. So but, sir 10. Creating a mood board: Okay, so let's start creating our mood board or more bored. Why is it important? First of all, we can just jump into an image with with no idea with no wrapped right? So what we were going to do with a wood board has created a direction north where our image wants to go right. It's nothing to specific, but it's not too broad either, right? So in our mood board, we need to look for certain references. So first of all, we need to look for color references. What color palettes would I like? So I can go into the Internet, maybe check out some magazines, maybe check out a a poster, a film poster and grant gathered those references and save a massive image. We can also gather information from way can also gather our mood board for images that we would like to be similar to, right. So if you have different digital collages that you would also like to be, you know, similar to, then you would be awesome that you get together about two or three images from that and put them inside of your mood board, and we also need to gather contextual images, right? So these are very important because be of you. And if you have a reference of a digital collage of Europe and I have some references of a color palette from India, if my project is in South America, I need to have the country like the essence and the main communication tools to make you understand that is, in South America. So I am going to look up for the my plus the sight of my place. You know, the main. The main things in this case, I am going to look up for the Amazon because of the product that we're going to work in is in the Amazon. So I'm going to look for Amazon references, different kinds of per septic perspectives, trees, different color palettes that we can find a different different text photographs or the Amazon. I'm going toe, add them into my mood board. And finally, I'm going to also gather some artistic references. Why not for some some things that I would want to achieve. So in this specific case, I gathered artistic references from an artist that is from Colombia, which is where the project is located. And he has you know he's a landscape artist which has some awesome landscape color palettes , tones way of representing art. So I think that would be very, very interesting for my own image. But if your project is located in Europe, it's located in Mexico. If it's located in, it's Sinegal, it's located in Japan. Then you would need to look for the specific contextual like essence of that place. And, you know, see which artists may be represented, that place better. Which photographers and how we can't gather all the information. So at the end, what we're going to do is we're going to save all of these images in one folder and then we're going to put them in a hole. Photoshopped file way will set them from order off order of importance. Right. So the big ones are the ones that are really of our influence, and the small ones are maybe, you know, sometimes not that direct influences. Moreover, general broad influence as you asking to see this is more or less my color, my mood board. So I have about 10 to 15 different images that are gathered for artists that are gathered from the place so that I get it from other collages that wanted to represent be similar to . And after doing this, I know what my color palette is. I know the mood of my image. What's what's going to be. It's going be very tropical. It's gonna be very cold that's gonna concentrate more on the people than architecture. Or if it's gonna be backwards, it's going. There's not gonna be any people. So this mood board just helped us to create a direction a North into what we want to create . So now let's look out on how to create a preliminary drawing with this mood board in the exact project in our in our in our 11. Creating a preliminary drawing: Okay, so we're going to sketch out a preliminary drawing. More like, uh, to see where are things we're going to go. So I was gonna this This can't be more than five minutes. It has to be very quick. So I'm gonna important my line into a new file into Photoshopped, and I'm going to create a new layer over here, drag it down with the G tool on my keyboard and with the D and X, as you guys can see salt, remember another for his up shortcuts lecture. We can turn this into white and let me just, you know, think what I want for my drawing. So right now I am on a tablet on a graphic tablet with a pen. So it's easier for me to sketch something very quickly. But if you don't have a tablet, maybe with mouse, it's kind of complicated. So I suggest it may be printed out very quickly and do it on a sheet of paper or something , you know? So, uh, this computer So first, the thing that I want to do is I want to increase the sky. I want to increase the sky. So I'm going to press See on my keyboard for crop tool Click right here and increase the sky. So I want this guy to be a protagonist. Clear this right now, See on my keyboard to just eliminate this these black bars around and now with a new layer beyond burst Tool. And I'm gonna call you this yellow this layer red if I press to be on my burst tool, Uh, you could just see I'm here like sketching out anything. So what is the the idea here? The idea is that we sketch out. Ah, you know what we would like to see in and in our basic drawing. Right. So this is gonna be very quick if you know, if you're drawing is not like this, it doesn't. You know, don't worry. It doesn't mean anything. It's just so you can you have an idea in your head of how the drawing is going to go? So So it's start. So during the main thing that is going to, you know, improve this images, it turned a ton of vegetation. So obviously I want some palm like some very tropical trees. I'm very a lot of palm trees in the foreground. So they're gonna be, like, two palm trees right here that are kind of like framing the image. Maybe a little bit with its trunk right here. It's gonna be one of the main images. This can be one Plumtree. Let's just make this a little bit thicker. Perfect. Ah, oops. And obviously in the background. I also want a lot of vegetation. So I'm going to just, you know, draw some, you know, some very rainforest, the vegetation, or, you know, that's the idea. And the idea is that this vegetation also like, goes into the building. So since this, this ah roof is very high up, we can see the vegetation in the back. So it's all going to be very, very green in the back, and here it's gonna be green us. Well, this right here, let's see right here. This is like a kind of a park. But since this is a I don't know if you guys know the Amazon, but it, you know, it's it's a very fertile ground for many kinds of plants. With any space that you have for for plants, anything will grow very quickly. So I'm just gonna put, like maybe another set of, you know, small palm trees right here. And now we're going to have, you know, like some big, uh, big, small scale, what, you know, some different kinds of different scale of of palm trees. They're just going to cover all of this area up, right? So, you know, they could be. The idea is that they're very diverse because we don't, you know, since it's the rainforest, we have a lot of diversity. So I have some cactus, maybe 1/2. Also some Palm's. Maybe I have also, you know, these the little trees that have a lot of stuff in them so that the aid is that I have a lot of stuff. Maybe there's a trunk of a tree right here. Maybe there's another part of our darker tree, and the idea is that we can't even see you know this street right here. It's all going to be covered in a lot of foreground vegetation, and maybe there's going to be like an animal right here, like a jungle animal. I would like to see this. This looks weird, but I would like to see it like a jungle animal right here. And obviously, I would like to see, uh, maybe a son or some birds, maybe some birds for now. And, you know, the Amazon. This place has a very notorious, like, kind of, like, landmark. It's kind of a mountain. So maybe we could put that in there and some trees, and that is it. And over here, more or less on the building, we can also put first some some ivy right here. So there's gonna be, like, a lot of ivy around perfect. And then we're going to have ah, you know, maybe one person right here and maybe another person right here. So how is this decided? I'm just gonna just want toe, you know, make the the image, like, well balanced. And if you guys hit, see on your on your keyboard for the crop tool. And if you just hold it right here, you're going to see a great right. So I want that grid. It's It's a very nice grid. Maybe I can I could center you know, this. Ah, this spot. You know much more. So maybe I can put this over here and it doesn't matter if we crop out the back of this building because, you know, this front facade is much, much more important. So over here, our image is nicely, you know, symmetrical imbalance. So if we do this, we would have to again, you know, put another palm tree right here, because the other one was I was in the other crop in the palm tree over here could also be right there. And since this is like the middle line, it was just changed the color. Since this is like the middle line, let's see what I'm very crooked. Um, let's see, there's a middle line like this is a point of interest is right here. Like right here is a point of interest on any of these three, uh, spaces. So I could, you know, put a person right here. I could put a person right here. I could put the mountain in the back so this could be balanced with, you know, this part and this part and, um and yeah, so that is our preliminary sketch. Now it's jumped on to our main image 12. Final thoughts on mood boards: Okay, so we have our mood board and we have our preliminary drawing, right? So we have a basic sketch of what we want. These two things are the most important things because we have, like, like, all this in our head, and we have it, like, represented in the page, and we know where it's gonna go, right? So if we didn't do this, we just hop into the image. We waste a lot of time just thinking, maybe saying Hey, what? What I do is is this correct? Or maybe let's start with this. But we go back and we lose a lot of time. So this maybe which we spent about 10 to 15 minutes on all of these activities. But in the end, it's going to save us hours. Right? So this is very important for the workflow of our image. I really recommend you guys do this for for digital collages, for renderings, for anything you know, just create a wrapped, created a route that you want to travel to. Now it's going to our next section where we're going to go more specifically on creating a texture library. Right? So we haven't even touched the project yet, but it's important to have everything ready. So when we have our project way, we can just start to drop because we have our all our things right, so it's sir. 13. Introduction to texture library: Okay, So in this section, we are going to learn to create our own texture library and how this is going to see how this is going to help our images. But we're going to look at different websites that we can download our images from. You're going to see what basic information do we need to look for when we are looking for images. And also we're going to see how we can organize these images right when we when I have a ton of vegetation, a ton of concrete textures in my PC in my computer, how can I organize them in the best way possible so they could be ready to use for this project and ready to use for any project? Basically, So let's start and see how we can create our own texture library for our products. 14. Different sites to download textures for your images: Okay, so let's take a look at five incredible sites to download textures for your illustrations, diagrams, anything that you are going to do in photo shop, sketch up war. Whatever. The first site, this is the first the site I use the most. This is my go to site is textures dot com. So here they have a ton of textures that are categorized by animals, brick buildings, concrete doors, forever Klores, FX ground, etcetera. You name it. So if I want, for example, I want some some roads. I go inside to roads. I have to create a free account with the your free account. You have 15 credits in each image is about to credit, sometimes one. And if not, if you are going to download a ton of images during one day, you can create, you know, pay for membership. I don't know how much that costs, but a free count. Well, this is totally free, and you can see here I have different types of images of textures, and it is a very, very, very, very nice resource toe have in mind. So that is my first website. The 2nd 1 is polygon dot com, so polygon dot com, as I can see it, how it has ah textures when you want to. Three, you know, import them to the your three D model, which is very, very useful. So as you guys can see, we have textures models. HDR is brushes, but they're very, very well adjusted. You know, textures that if you put them inside your sketch of model or Ryan or whatever, they will look very, very, very cool. The second. The third website is texture lib dot com, which is more or less, you know, very similar to textures that come, which I have very different categories have they have nature, you know, I can go into Ivy and can download one of these ivy. And as you can see here, I have the option to download it, and it's all totally, totally, totally free. I don't have to create a a account, but I have a quota of of two images or to downloads, I think per day. The 3rd 1 is sketch up texture club. So this is a very, very old website. It has a lot, a lot of stuff. I remember when I was in school, I used this website a ton a ton for my for downloading different texture size. You guys can see this is more to use in your three D models. Three D models. If you go here to architecture, you can, uh, see. For example, let's see some architecture textures. We have different types of brakes or buildings. And for example, if I go to residential buildings and let's say I want to download this texture, I have, you know, a A V free option to download and a club member optional, which is very, very awesome. And our final website is Maybe you guys are gonna laugh a little bit, but it's ghoul dot com. So after textures dot com after this website, this is the one that I use the most. Why? Because it's the quick It's quickest, fastest, and it has a ton of results. So, for example, I'm always looking for grass, right? So when it happened grass. I can go to images when I go to to I can go to tools. If I need a very big grass, sighs large, and if I have some, you know, some usage rights, you know I don't want to steal anyone's images. Obviously, I go over here to labeled for use with with modification because obviously I'm going to modify it and I'm going to have various various options. So, for example, this this grass I have used the ton. It's very, very nice. It's in a very high resolution. I really like these type of images and they have a ton, a ton of images, you know it's not filtered. You can download 30 40 51,000 in the same day. You don't have any limit. And that's what I love about Google. Google has everything everything that you you can want in a site for textures like, for example, this. This is a precious precious image and we have all the rights, and those are the sites that I recommend you guys using for your illustrations renders whatever you are going to do 15. Folder structure for organizing files: Okay, Now we're going to see how to organize our images into folders. So this is a very general tip that, you know, is good for your life, you know, And for all of your architecture projects and everything you know in general. Right? So, uh, you know, take this as a very big, very big advice, but also for our specific image. We would also need this type of organisation. So this is my personal Photoshopped texture library. Or maybe a little bit of everything because you guys can see I have brushes. Entourage, have some. Let's I have ah, you know, various symbols, textures, topography, vegetation. So if we go inside of textures, which is what I'm talking about, I have also different folders, which is no water environments, CD textures that I don't from the textures from our canine skies, concrete buildings, effects, you name it, have vegetation. So if we go, for example, inside of vegetation, let's go inside of, uh, brick. I have these These brick textures, right? Some some folder and have a lot of textures and some boulders. I don't have that much. If I go to skies, I have a ton a ton of 10 of skies that are free that were downloaded, You know, with a lot of time, you know, a long time ago. If I go over here to vegetation, I have my vegetation sorted by size and then by four men. If it's a JPEG, if it's in a PNG, if it's in a PSD file if it's in a tiff file. If I have, for example, in the piano PNG file have fragments, I have big ones have medium trees. I have small trees, and I have different kinds of trees. We'll have ivy, you know, background trees, etcetera, etcetera, etcetera. So what is the general advice here is that you be very, very organized, right? So, for example, if I'm going to like the image that we're going to create in this course, we I'm going to take out some trees from here. Then you know, just Lee, if you're gonna save any trees from Google or from, you know, from Google images, save them to your trees folder, right. So you don't want to save them in your desktop. You don't want to save them in the folder you create, you're gonna create your image you want to see him in your general library, So this is going to be very, very useful for future products. Maybe you you always want to say, Hey, where where is that texture? That grass texture that I use for the past image. Where is that person? That tree that I really liked. I can't really can't find it. But if you have a organized folder structure, that is not going to happen, so that is a very, very, very important to 16. Elements to look for when downloading an image: when we are creating an image, we need to look for certain parameters, certain specific conditions off our textures that we're going to import. And these parameters air something that I want to talk about. Because, for example, if I'm going to look for a grass texture, I can't just look for any size. And I can't not like, for example, wants Look for a grass section on Google and I know that I want a very tall grass, you know, very like farm ish style. So first of all, I have to specify my you know, my search. So instead of grass and when typing tallgrass and after I have this, I can't use like, for example, this image because this is not in perspective the perspective I wanted to be, I need more or less these type of images. But now this one is too small. I need, for example, this one, but I don't really know the copyrights. I think we have to pay for this image. So when we look for an image, we have to, you know, first, before looking at the image we have to know, what size do we need? The image in if we need it in a big size, we can always over here to tools size and large if you need it. If you needed with, you know, copyright you solved. Go to use the droids and labelled for you reuse with modification And after that, if you need you know, obviously any you know for many time from you know, any general color Like for example, it's a yellow I will have a lot of, you know, yellowish image images or maybe a darkish images. I'll have, you know, much more darker images or, you know, any color will be fine. I need them transparent. You know, I will have, you know, images that I can, you know, later cut. So this is a filter that you guys need to do mostly in your head before you look for any texture. You know, here it was for tall grass. But if if we need, you know, some concrete texture, we we can also, you know, apply the same parameters. And sometimes and some textures were in the majority of textures. We want the textures to be seamless. What the seamless mean. It means that when I copy ah, lot of times this texture, this concrete texture or this one, it's not going to have any seems. It's not going to have any, you know, obvious lines that if I copy it 100 times going to be very obvious, like, Hey, it's just one image copied 100 times. So sometimes some images say they're they're seamless, but when we do the exercise, they're not. So there's something that you have to, you know, it's a trial and error. So ah, in conclusion, always have in mind what kind of images you want. The size, the color, the usage rights before you look for your images. 17. Takeaways from folder structure : Okay, so now we have our own texture library. We have a set of websites and we have all this organized in our photo, right? So before we continue, what I recommend is that you if you're following along with me that you go to these websites, the one you have the best, or maybe to your own library of images and you organize them, right? So if you organized by vegetation, you organize them maybe by size, by texture, by different by material, my different kinds of things. And with the mood board information that we had from our past section and with this sexual library, you mentally are gonna, you know, save yourself. Okay. So to achieve this color palette, I can use this concrete texture to achieve this type of vegetation. I can use this image of reference that I have here, and you just starting omitting them up and organize them. So when we start on our sexual project visualization, you already have a more or less planned. What kind of images you want to do. So let's start 18. What takes the most time to edit: Okay, so I'm very excited because we are almost getting to the project. I know you're very tight if you want to see like, Hey, Stephen, you know, I want to create some digital collages, but I'm preparing you in the best way possible. So when you are right in front of polar shop in front of sketch up, you can create them in the best way possible. You're gonna be an expert, so just trust me. This is a correct workflow. You really want to be the best as prepared as possible, right? So in this section we're going to learn some basic voter shop shortcuts. So I know that right now we have work. We have talked about the history of architectural collage. We have gathered up some texture from our images when we have mood board. But what happens if we go? But what happens if we go into photos up and way Don't know how to manage for. So what happens if you go to voters upping its like, very slow or, you know, you are not such an expert for shop. So right in this section, I want kind of convert you into an expert or no expert, but maybe no. Some important tips and tricks to know before starting in architectural image. So we're gonna have a section of three court of off three meeting classes where we're gonna see some basic basic Photoshopped shortcuts that, you know, anyone should know for creating anything. Then we're gonna see some intermediate shortcuts. Five also. And at the end of going to see some advanced, you know, like you, you are a Ogi and Photoshopped kind of shortcuts. So with these stroke shortcuts, I recommend you guys practice. Practice them a lot, a lot, a lot, and you will master your force up game and no time, so let's start. 19. 5 Beginner Shortcuts: Okay, So here are five easy keyboard shortcuts that I recommend that you guys use in your projects. The 1st 1 is the V Tool. So repressed V on our keyboard. Uh, we have the option to the move tool. Right. So this may be pretty simple, but when you have a very, very big file, it's very heavy. Maybe you have a slow computer and your mouse is moving really slow. So if you're right here and you have to move all the way over here, it can be a lot of time lost if you compound all of these movements. So just press the on your keyboard. Let's say we are on I don't know the lasso tool, and we're just creating a lasso tool. And we did it. And now we have to press via a keyboard and a lot we have it. The second tool is the B tool. So this is not a small what's the big beat? Right. So this is the brush B. This is this one. So it depressed beyond our keyboard, we will have our brush. So, uh, this is a very interesting tool because it's more or less the same as this one. But the burst tool is probably perhaps one of the tools that I use the most in any type of image diagram render you name it. So the brush tool is the most used tool. So just remember that V and be beef or brush and V for the move tool. The next, uh, the next shortcut we have is our see tool. So, as you guys can see, these are all very close your keyboards. You have your see your V and your B, so you always have to have your hands right there. So the sea tool is for the crop tool. As you guys can see, there's a pattern that's been being repeated. We are trying to avoid always, you know, putting our mouths and trying to go over here to the sections. We just want to do this as fast as possible. Any second count, any minute counts, and if you guys learn be shortcuts, you'll save a ton a ton of time. So when you proceeding keyboard, it's gonna activate the crop tool. As soon as you have. Activate the crop tool, you can change the crop of your image, make it smaller, bigger whatever. Right. So C is for crop tool. Ah, Nets. We have our lasso tool, so this is going to be a little bit different. You just press l on our keyboard and we're gonna have this little signal you guys can see here on our on our on our screen. That's the lasso tool again with the brush tool. It's one of the most used tools when we have to cut out, you know, the background of a person of a tree If we have to cut out anything of a each any section lasso tool is the most years tool. And finally, we have the our tour. Now the are too, was a very interesting tool because it rose. You guys can see it's it rotates our campus so you can see the north and right right in red , like the the the B, up the upwards of the image. And we could just rotate it in any way we want. And why would you say this is good? Maybe some of you don't use this tool, but it's one of the most used tool by artists. And the thing is, you know the catch over here is that if you're looking at an image you're working at this image where you have been working at it for maybe days, a week, or maybe a ton of hours. You will not see many differences. You will not see many flaws, but man made. But maybe if you're stuck with an image, you can just press R on your keyboard for the rotate tool rotated 180 degrees and a lot. Maybe you can get a little bit farther away and you will see it much, much differently. Right, So you're gonna see Okay, so here the shadows, this is the light how it's working. So it's pretty. It's working pretty good or it's not working good at all. So So just just to recap, we have, uh, are V tool for the move tool R B for the brush tool see for the crop tool l for the lasso tool and are for the rotate tool. And these were five easy, easy, easy shortcuts that you guys can use in your everyday workflow. And I recommend you guys really, really use them 20. 5 Intermediate Shortcuts : Now we're going to see five intermediate keyboard shortcuts for photo shop. So these are gonna be maybe a little bit more complex, but not that much. Okay, so the 1st 1 is the eyedropper tool. So when you guys air with your mouth sand, maybe you want to say, Look, Ritz, create a new layer and you want to color that layer this same color of this of this floor that we have right here. But we don't have the color in our color palette. What do we do? Look impress all on our keep We compress be first of all, the one we learned in the first shortcut video for the brush tool. And I want to paint right. But these guys can see the color over here is is just It's just not the color I want. It's a yellow. So what? I'm going to do the one press all on my keyboard. When I press all you guys, we're gonna see like there's an eye drop tool. I can click on any part of the image. So let's click on this floor and instantly Photo shop is going to take that color and put it in my color palette. So if I start painting, I will have that same color. So you guys can see if I put the I drop here, it's gonna be gray. Nobody here is going to be a little darker, etcetera, etcetera, etcetera. The second tool is the opacity tool. And this is also a very nice tool that I think when I learned it, it made me very, very happy because it saved me so much time. So sometimes when we are painting, for example, like this, uh, I want to paint it in a different opacity, right? I don't always wanted to be in 100% so normally I would have to just go over here on top and drag this down to the opacity tour. And if I had a very big file, this would take maybe about five seconds more than what I wanted, so it took very, very long. So if you want to access quick opacity numbers, you just have to press on your keyboard. Any number from 1 to 0, and you will have different values. So if you're asking if you see over here, we have 100. But if I pressed one on my keyboard. I will have 10% if I press 12 my keyboard 2030 Exeter Exeter could refer Have zero my keyboard. It would be 100. And let's say you want 46 so I just have to do it very quickly, right? I can't just do like four and sits because you guys can see it's gonna be It's not gonna change at all. But if I press foreign sits very quickly, it's just gonna appear just like that. So this is a very, very, very cool tool. If you want to adjust your passage very quick, the third keyboard shortcut is control you. So this is to, uh, get the control of the hue and saturation window. So let's say, for example, I'm standing here in the layer that of my floor plan is in, and I want to change the colors very, very quickly, but I don't have time to create an adjustment layer and all that stuff. So I just press control you on my keyboard, and I will have this window right here. Once I have this window, I can do many things that can change the color of the plan. I can colorize the whole plan to make it. I don't know, maybe black and white, or I can make it, You know, this very, very strange color, but it just saved me a lot of time by pressing control You on my keyboard. The ah fourth shortcut is control l so control l will, um, will have these levels right here, which is very similar to control you in In in the thing that it It's a very quick tool that helps me modify something. If I'm in a hurry, I can modify the levels very, very quick. So control you for hue saturation and control l four levels. So you just remember the basic letter Ella's levels, his press control, Eleanor keyboard, and you will have the levels and the final intermediate, Um, tip that we have is control zero. So, as you can see, if we go over here to view, to win, to view and, um, you go to, uh, fit on screen, you will have here some some, some code, some shortcuts, which is sometimes sometimes we don't see them. And there they appear in the whole photo shop interface. But one of the most used shortcuts is control zero. Because basically, if I'm like, right here in a very big detail and I don't want to zoom out, I can just press control zero. And it's gonna get everything to screen where if I'm very, very far away, I'm gonna press control zero. And it's just gonna zoom in. So we have the eyedropper tool, the opacity, the control control you for here. Situation control L for levels in control zero for adjusting the zoom. So these were the intermediate shortcut. Uh, church cuts four full shop. 21. 5 Advanced Shortcuts: Okay, so now let's take a look at five advanced voter shop shortcuts for architects. So the 1st 1 and I think one of them, the ones that I was most most most happy to find it was the resize brush tool. So sometimes when we have our brush tool number be on a keyboard and we start painting in some stuff, let's color this Maybe black If we start painting in some stuff with said, you wanna make an outline and this is very, very thick. If I have a very, very heavy file what I have to do it to change the burst sizes, right? Click and goto size, and this will make it smaller. But sometimes when we have ah lot of brushes over here, this Congar very, very tedious Kids could get very, very slow. And if you have a slow computer, it can get very it can get much, much slower. So one of the tips I used to adjust the size without opening this window is first press Ault on your keyboard and with your right click, if you drag it to the left to the right. I'm sorry it will. It will be very, very big. If you drag to the left, it will be very, very small. As you guys can see, there's, Ah, there's, ah, a red dot that appears that shows me how big it's going to be if I click on it. That's the big how big it's gonna be and how small it is. And there's the diameter of bots, which shows me specifically how many pixels big this is. So this is the first tip. The second tip is more or less related to this, and sometimes we jump a lot between this hard brush and this soft brush. As you guys can see, they are two different types of brushes. But we can, uh, save us a little bit more of time by just adjusting the hardness so as you guys can see, remember that when we dragged our mouths by pressing, all done on a keyboard and, uh, right click made the brush smaller or larger. But if you drag it up or down, as you guys can see, I I dragged it all the way up, and the hardness is in 5%. If I drag it all the way down, the heart is it isn't 100%. So if I want to vary it between the hardness of brushes, I can just go up and down. So if I go up, I will have this brush. If I go down, I will have this brush. And this is tip number two. Tip or ah, Shortcut Number three is the cue tool. So this is also a very, very hidden shortcut for somebody that doesn't know how to create these type of stuff. So, uh, the Q shortcut is the edit in quick mask mold. Right? So what is this is sometimes when we are, I would say, selecting a part. Let's say I want to select this whole area and bring it into a new layer. So I'm creating here my selection. Maybe it's a bit tedious taking. It's taking a little while, and I have to select these columns, etcetera, etcetera, etcetera. You know, there is another way of making the selection so you can be with your lasso tool or your want to wherever you want. But if you press que on your keyboard, this will appear. And what is this? This is a different mo mode of selection or viewing your your current selection was, which is a quick mask. So everything that's in red is everything that's not selected, and everything that's not in right is everything that selected. So if I press the brush tool five press, be on my keyboard and press the brush tool and let's say I paint with white on top of this column, as you guys can see, the column will appear. And let's say I you know, it's like I painted all these columns and I press Q on my keyboard again. Now the columns are selected and without even half thing having to go to the lasso tool. So obviously, this is not the best example, because I didn't select him well. But I could have done this. Let's see, you know, very smaller way. And it could have been much, much faster if I have to make a very, very quick selection if I may have to maybe select all of these parts. But I don't want to go with the lasso tool. I just want to do it with a brush tool with Sometimes it's much, much faster. Or if I have to do very complex geometries, I could just press, you know, the Q more, the Q mode, the quick mask mode, and I will have this turned on. So that is the third, um, for the shop shortcut. The 4th 1 is control and make a new layer. So, for example, I have my image right here, and on top of it, I over laid. I don't know, maybe maybe this Thank this person, this treaty. I'm sorry. And then I made this. And then I created a new layer and I made some very small people. Whoops. And I created a new earlier, and I created some text or some outlines. Well, you know, this is very basic, very primary, and I didn't want to get a quick look and have all this in one layer, you know, very, very quick. What can I do? Like impress control shift, Ault and e And a new layer will be created, as you guys can see here. So if I turned all of these layers off, everything will be on top of this later. That sometimes could be very, very, very useful. And my final tip. So it's just erase all of this. My final tip is the D and X keyboard shortcuts. So and when we're creating diagrams, when we're creating illustration, anything, the colors that we use the most are black and whites, right? So if we're going to make an adjustment, we sometimes, you know, use the black brush tool to maybe at some soft shadows right here. Or maybe the white tool to add, you know, some ruminants and going between those two colors. You know, if I have to drag my mouth all the way over here and it's like the white and then select the black, it's gonna be very, very tedious or from my red color and have to go over here again to select the black or over here to like the black gonna be a very, very tedious with time. So there is a shortcut, and the 1st 1 is a D tool. So as a guest can see here I have red and white selected. So if I pressed deal my keyboard, it's automatically going to go to black. So it would say I have two colors right here selected. That's they have these, you know, various colors about breast deal, my keyboard. It's gonna go back to basics, which is black and white. Now let's say I need to change between these two colors very quickly. I can, you know, obviously click on this on this layer right here on this option. But I can also press X on my keyboard, and it's just gonna very between these two colors. So if I have a color palette that is always off, I don't know, Let's a yellow and and blue I don't always have to select the local over here. I can just press X on my keyboard and color this yellow and then excellent keyboard closed loop. And I saved a ton a ton, a ton of time. So these were five or 66 advanced keyboard shortcuts for four shop. 22. Conclusion on PS Shortcuts: Okay, So what did you think? That you learn these Photoshopped shortcuts? What did you ask? You know, some were really some I think for me were license lifesavers. And if it wasn't for these shortcuts, I would take hours and hours creating images, because sometimes I am on a very slow laptops, and it just takes a ton a ton of time to create one single image. So these shortcuts make my life so much better. So one activity I I recommend you guys doing before starting. Or maybe while you're starting while you're taking this course, if maybe you're doing some other projects, is that you? You make yourself practice these shortcuts. So you print them out, right? I have these shortcuts right now in a word file that you can dunk, download, and you print the mountain. You can add some more. You can look for Google for stop shortcuts and print them out and happen next to your computer. When you do this, you're start to say so. How can I use to be the first to will be? How can I use the selection tool? The Marquis tour? The the the want tool, etcetera, etcetera when you start. You know, creating all of this is just like all I can remember. When you start doing this, you're gonna be a master in fortune, so it's going to our next course. 23. Introduction to exporting renders from sketchup and vray: Okay, so we're starting this right now. Right? So we have we already learned our mood boards were already learned. You know, the history of architectural Clause. We already know some for some shortcuts that we think we're like the Masters. And now it's time to open our architectural product in this section. We're going to open our product sketch up. We're going to set up a scene that worked for us according to our preliminary drawing, and we are going to export a basic V ray render in ambient occlusion render that's going to work for images, and we also have a bonus class. That is way we're going to export some images off on Lee, your lines in force up. So let's start and see how we can create the best scene for our Kalash. 24. Creating a scene in sketchup: So we're going to start by opening up our sketch of models. And so if you have your model and rev it, um, three D Mats Rhino, any other program? Don't worry. If you can import import, it's a sketch up to follow with our workflow. It can be much, much, much better. So I hope at everyone. Everyone has your model in sketch up, and if you guys open it, it can look a little bit like this. I have my normal default style, and you know, there's nothing weird about this model. This is a the market plaza we're going to be working with. And this is a project I designed a while ago that is located very near the Amazon area. So for those of you that don't know the Amazon area the and was on his one of the biggest forest you know, rain forced, if not the biggest brain forests in the world in the plant. Okay, so this area is obviously very green. It's very filled with a lot of life, and as we saw in our mood board inspiration, we want a lot of that into our image. So after opening up your schedule model. What we want to do is select a scene or maybe two or three scenes, but maybe one scene that we want to render and that's the scene that we want we're going to work with for our final image. So what I have to have clear is ah from my mood board and from my my sketch drawings. You know what? The main view off my building is right. So for this for this specific building, You know, the most important view is this this facade right here for for you it may not be the same occasion, right? It's not always the facade. Sometimes the main view is in plan. Sometimes of main view is inside the building. Sometimes the main of you is, you know, by the side, or, you know, like in the corner of the building. So that's perfectly valid. So you have to know, question yourself that before creating a scene. But for this building, the main scene is this front facade. Now, um what? I have various options here before I start to to render these images and for the first option I have is the height of the person that is going to be looking at it. So since I want the scene to be, you know, from the forest and that we're going to see the building, I don't want it to be that high. I wanted to be more or less like the height of a person. Eso I'm gonna drag it down just a little bit. I can also go over here to camera field of view, and here you guys are going to see a different degrees. And the field of view is just vary is the camera that it's seen with. So if I have a very low field of view, it's almost parallel projection. And I have a very high field of view, as you guys can see here. We have a very distorted, distorted camera. So many experts say that you know, many experts say this is not me that you know, the one that is closest to the human eyes, about in about 35 degrees. So that's where I'm going to leave it for now. So I'm just going to center this, you know, obviously, your your your image has to be centered, you know, according to your architectures. So in this case. This Ah, this main facade has, you know, this these three main groups. So I'm going to center my image according to this central roof, and I'm going to pan it down a little bit, maybe just rotated and get a little bit farther away. And that is perfect. Let me just, you know, just the image. I'm adjusting it with the shift tool in the scroll tool. And as you can see, this model is very, very heavy. So if you want to a faster workflow, you can go over here. What's as hidden line so the textures won't load and it's gonna be much, much faster, as you guys can see here. So I'm just gonna maybe adjust. It may be like this. Let's see, this is a perfect perfect of placing No, I'm going to save the scene as we can go to camera. I'm gonna go to view animation, add seen. So here we can rename and and rename it to collage illustration, and that is going to be the scene saved that we want to render 25. Creating a base render in VRAY : Okay, now that I have my main seen saved, what I'm going to do is I'm going toe you whip out a fast render a very, very basic render for our images. Honestly, we don't. Sometimes this may work for your model, but sometimes they may not. But I recommend you guys follow with me in this process to learn how to create, you know, a very base rendering. So what we're going to do is we're going to go open, V Ray. We're going to open the asset editor, so just click over here and wait for the asset editor to load. And it depends on the you know how heavy your model is, what other processes you have going, how fast it's going to be the render in. You know all this management. If you don't have very fast computer, I recommend that you close all of your programs and just have sketch up open for this task . Now, I have my very asset editor open here, and what I'm going to do is I'm going to go to this tab which says settings. As soon as this tab is open, we are going to make some adjustments first, I'm going to, you know, drop it too low, because I'm not sure yet. I'm going to turn the material override option on. Now. I'm going to go to, um, render output and Boynton's like 16 by nine widescreen. And for now, because we're going to make a test. We don't have the final image. I'm gonna just type in 800 pixels by 4 50 I want a very fast image. I can even drag it down to draft because I'm not sure you know the perspectives, right? If the light is right, etcetera, etcetera. The next step that we're going to do is we're going to go over here to this light bulb here . It says sunlight. Here. There's an arrow. We're gonna click on this arrow stand on top of sunlight and where it says size multiplier . I'm going to type in. Ah, maybe about 100. Or maybe about 150. Now, if we do this that you guys can see our shadow becomes softer, softer or harder. If we had a zeros, Vera. Very hard, hard shadow. If we had ah, 1000 it would be OK. Maybe 500. Okay. Maybe 300 I think. Nope. 200 would be a very, very soft shadow. I think 200 is the maximum that you guys can go. And when you if you want a very, very soft shadows. So if we press 1 50 we're gonna have a very nice shadow. And now that we have our settings ready, we're going to click Kobe here on render to just render a test. Now, if you click on this, remember to set your quantity, your quality to draft of very low size because, you know, this is not the final image. So we don't have toe having big size, and we're just gonna have to wait for our image, okay? And as we can see here, this is our base base. Render that it just whipped out. And it's very, very nice renders. Maybe sometime. Maybe there is a little a lot of dark spots over here. And maybe we could improve this render by directing the sun to shadow in different ways. So let's just close this window and let me just go over here, drag this down and change the sun. Time to about ah, to about 2 17 I think, which is nice. And we're gonna hit on Render once again. OK, so I fiddled with it a bit, and it turns out that our best sunlight was at 10 a.m. So obviously this concerto with your building, what we what you need to look for is that it's a very well, you know, Lit has, you know, a lot of interesting stuff in it, and it and it's not, you know, at a very dark time of the day. So this is was a very perfect our for this building, but you would have to check for your building how it would look now that we know that this is the correct render that we want to take out, we're going to set the adjustments to ah, you know, render all of this in its biggest way. So here we're going to, instead of quality, we're going to pick it up and put it in very high and in render output we're going to I'm going to render it and about, let's see 3500. Perhaps, um or no, maybe yes, a little bit 3500 ish, more or less? No. Um What? I'm going to do is I am going to click over here on Render with V Ray. But before I do that, I'm just gonna go over here where it says camera Whoops. Let's just wait a little bit Camera and let's I'm gonna click on two point perspective now , What that did was it fixed my my lines, You know, my vertical lines so they could just be all vertical. Sometimes there was. There were slanted just a little bit. But this makes the image look just a little bit much more professional. And after I have this ready, I am going to click on Ringer. So, uh, I'm gonna let's see you guys after the render is done. OK, so this is what our final image looks like and it's perfect. Now we'll have to do is click right here RGB color and click on Save and Select the folder that we want to save it in 26. Exporting image in different channels: Okay, So one additional tip is to save your render I d channels just like this one. So if you want to save your different channels, you can go over here to this layer before rendering. And here where it says, um, create asset. We're going to go to render elements and select the different channels that we want. So, for example, you have to select render I d object. I d material I d color and Z death and whichever other want you want. So I already rendered them here. And as you guys can see, I have a drop down many where I have my Alfa my material i d color which doesn't appear my render i d and many, many, many more. So if I want to save all of these, I just haps it. Click over here sable, even just two channels to separate piles and I'm gonna name it base and click on safe and that is it 27. Importing into photoshop and setting up a folder : Now we're going to import our files into photo shop and here we're going to you Here I am in my base folder where I have all my renders and you know, some of these I need some of these I don't need for Temple with one outfall is enough I with my render i d. And with my base with my based d noise is fine, right? And with my line file. So what I can do is just click on based the noise er, and drag it into Photoshopped. And now we want to go back to our folder and select make a multiple selection of Render I d of our end over Alfa. We're gonna drag it in everyone a press shift on our keyboard so it automatically centers this image and with a double click on top of these two images, and we have them perfectly aligned. So if we turn these layers off, we're going to see below our image. And finally we're going to import are lying file. So if we go back to our files here, we can we see our line file, you drag it in Azaz well, and we can see that size is a bit off. So what we can do is just without double clicking yet. Just start toe, adjust it perfectly to to the canvas. Now, obviously, you won't be able to see it perfectly. You know how it's being adjusted. You can you can zoom in, zoom out and see, see how it can adjust. You know much, much better. But what I recommend you guys do, is he over here? You can lower the opacity just a little bit, so you can see if they match. So I I have Ah ah hunch that if I match these these images right here, let's see and double click. If I turned down the opacity, they will fit perfectly And that is it. Now weaken. Now let's go to our folder management. So we have all these layers. We have our line filed Based Ren drayd Ian Base Alfa. Now, since we're gonna work a lot of textures in this image, what we're going to do is, um with our shift, uh, key selected, we're gonna press online, and we're going to see that all these four were selected. We're gonna click on these and drag them down to the folder icon that we have below, and it's gonna group him toe, group them into the folder. If we double click, we can rename this base images, and if you want to be much more organized, we can right click and you know, like I always like to color it red and here we have our base images. 28. Export line drawings from sketchup : now. One other bonus tip that sometimes we may use or who may not. It really depends on your project. Is it sporting the line file? Right. Just this line file. So after we close very and everything, we just have this scene as it is. If you don't have it like this, if we have it may be in three D printing style. You may want to go over here where it says hidden line, click on hidden line until you guys see all of these features. Now we're going to goto file export and export to D graphic. We're going to go to the folder where we saved in. We're gonna name it line file here. You can have some options, but, you know, these options are, you know, perfect for me, and I'm gonna click on export 29. Key takeaways for exporting base renders: Okay, So what do you guys think? I think it is very important right now. We already have our image. We already have our basic scene. We have our basic render with our lines and we learn how to import this into photo shop and to create a basic fold. Right? It's important that use this basic render technique for all of your images. Sometimes they're not. You're not going to use the map as much, but it just those type of renders are so conceptual and so artistic that you can use them in any kind of presentation possible. So now we're going to go to our next section, where we're going to start importing some textures and start seeing are drawing come to life. Let's go. 30. Importing and adjusting textures into photoshop: Okay, So welcome to this other section where we're going to import textures. We're going to important texters. We're going to see how we can apply color to these textures, how we can crop the campus, maybe to make it fit to our personal taste and how maybe we encounter with some problems, but we can solve them in the best way possible. So this is getting, you know, step course from these section by section is getting much more technical, but it's also getting much more exciting, so let's do it. 31. Cropping a canvas and adding a background: Okay, so let's start with our main image. Right. So we have our mood board ready. Here we have our preliminary sketch, and what we're going to do is basically we're going toe import textures and use masks, right? So in mast amount or Masterman, whichever the case. So that is the basic two steps that we're going to do for all over textures right now. Right? So before we start doing that, I'm just gonna fix the crop right here. As you guys can see in the preliminary image, it's much more centered, and it's much more vertical. So right here, What I do is go see for the crop tool. And first I, you know, drag this right to the, you know, a little bit to the left, a little bit to the right from here, until, you know, this is, like, perfectly centered. And, you know, I don't crop out too much of the other buildings. He has concede this is perfectly centered. And now I'm going to drag this up. Up, up, up, up. So right here, like in the middle, is the roof, which is like the most important part of building right in the in the 1st 3rd is, you know, maybe the plans that are going to be here and in the other third is going to be the sky and everything. So this is kind of perfect for me. I am not sure, but I think this is a ratio of one by one. So if you want had to have a specific ratio, you can go to 1 to 1 square or maybe 4 to 5. But I think 11 square would be nice. Let's see. Let's just make this a little bit bigger. Perhaps over here. Let's just make it a little bit bigger and a little bit whiter, perhaps as well. Okay, so this looks This looks nice for now. Now I'm going to create a new earlier, drag it down, press genome a keyboard and press Exxon, Mikey Ward and color in a white background. Just, you know, just to guide myself for now because I don't have a sky texture yet. So what we're going to do is we're going to start importing some textures, so, like start 32. Importing roof texture and creating masks: Okay, So our first texture is going to be our concrete texture. So we're going to go to our folder where we saved our texture, and I'm going to drag it. So if I double click, I have to drag it right up here. So it's on top of everything. And as you can see, it has a very small symbol that says it's a smart object. So if I updated, you know, outside of photo shop it it automatically saved and updates right here on my photoshopped file. In this case, we are not going to use you know, that tool so we can right click on top and click on rast arised layer. So the idea with this is to insert this concrete texture, uh, in the in the roof parts right here in all the roof parts. So what we're going to do is first, we are going to place or concrete texture press control t to just make it a little bit smaller and and we're gonna try and see how it looks, You know, if we just leave it as it is, So we're going with alternate a keyboard, we're gonna drag it to the right, and it's gonna make copy. Gonna do it again. It's gonna make a copy. Now if I select one of these in press shift and so, like the other ones you guys can see, all of these were selected, and I could just drag them right here so I can right click and press merge layers and we have all our conquer layers and my merch layer. You you may ask yourself, Why didn't I just make it, You know, bigger because you know, the pixels Ah, you know, I defy could deform the image and it would look very, very bad if we have this, you know, printed in a big scale. So we wanted to be, you know, in a the nicest resolution possible. So right here, right now, I'm going to turn this layer off and I'm going to go to my base, render i d. So I want to turn off the line option and I'm going to go to my base run dry D and I'm going to press w on my keyboard and right click and select color range. Now you guys can see there's a preview of my selection, and if I were to select right here and the white, everything would be white. But if I were select it just like here in the in the purple it would change, you know, instantaneously. So what I want t. What I want to apply to the structure is this little pink area right here. So I'm gonna select it like so. And if you have the fuzziness all the way up, you may, you know, get not a very exact selection. So we wanted to be, you know, just just that just those colors. So we press OK, and we can see that most of our over roof is selected, which is perfect. We turn this off now we go back, we turn this seamless concrete texture layer on and we go over here where it says mask. So if with this selected, if I click right here are mask Voila. We have our first mask and that is how we conduce a mask week. Now we can turn this layer on, and we have our texture, you know, our concrete texture selected. Obviously it doesn't look up well, because of Dylan have shadows or anything, but we can just go toe normal and select, um, overly. And that is our 33. Applying different concrete textures and solving problems: Okay. Okay. So now that we know what the basic step is for now, which is importing a texture, you know, putting it in the right place and with our base render I d selecting the area that we want to mask our texture and then masking it out. That is our basic step for every texture. And that is the first step we're gonna do. So I'm going going to continue to import textures. I'm going to do this in real time, but maybe not narrated because it's not really necessary to narrate. If there's anything important, I will tell you guys. But for now, just follow along with me, and you could maybe put some background music and let's see, you know how to import other textures. So I'm going to go back to my textures layer and select a different type of concrete for the other. You know, I want I want to see, like I variety. So maybe I'm gonna try this seem, was concrete number two. Drag it on top and let me just just landed over here. I'm gonna drag. It always ends up, and this concrete is going to be for this columns and for the structure. So maybe you could make it a little bit smaller. So I'm just gonna duplicate this and duplicated again. Select all of these and click on merge layers. Now, we're going to turn this off, Turn on our render I d and whips. We have a big problem right now. It which is that, uh, you know, this is this whole roof structure selected, but these columns are in different colors. So here we have to do, like more of a manual work, which is, you know, selecting each column one by one. Or we can turn on this line layers and see if this lets us selected. Uh and you know, these lines are very clear, as you guys can see here, so it wouldn't be a fine selection. So what we're going to do is first goto our base, render I d and select. Ah, you know, I can, you know, it's like with color range this roof. Now, what I can do is click over here on the ad to sample and start adding these colors. So it's just click on each column right here. Now there's a problem and you guys can see here there's there's a being a selection made, you know, the render idea wasn't made in the best way. So it's selecting some of these panels right here, and that's not what we want right now. So let's just cancel this and what we're going to do is the next you know, we're gonna do the next thing. We're gonna go to color range, select Onley these press OK, go to our seamless concrete and mask it out, which is perfect and obviously said it too overly, which is perfect, and it returned are rendered the option. Now we have a different type of concrete, which for now we're gonna leave it as it ISS. Obviously this is his image looks dark and everything, but for now, we're gonna leave it as it is Now. What we're going to do is that we are going to press l on my keyboard and with our lasso tool, we're going to just select very, very quickly. Ah, maybe everything that's above this line right now. So let's see. Yep, let's just select everything that's above this line. Maybe like this. Now let's go over here and go over here and do it just like this and double click to close the selection. Now, this is a trick. Maybe that's gonna work. Maybe it's not going to work. So I'm gonna press w on my keyboard. Right? Click and select color. Ah, I'm no, I can't color arrange this. So subtract from selection we're going to have to do is stand on top of our render base, render I d and, um press WR keyword. And if we press, you know the Ault key, we're going to see a minus right toe our magic want. So if I click on the sky, it's gonna, you know, erase the whole selection of this guy, which is perfect. And he wanted to take to take this continuous off. So this guy again, everything that was white it's not selected anymore. Now I don't want this yellow ah wall selected somebody again press on it and everything is going to be a de selected. And let's see what else we want to de select. Maybe this this area And I'm impressed on my keyboard for the last two and just these, like this whole area because it looks a little bit fuzzy and we don't want it to look that fuzzy and let's go again. Two are Now, let's turn this off. Now we're going to do is go back to our seamless concrete option and we're going to stand on top instead of standing on top of this layer right here Gonna stand on top of the mask and you guys can see it changed. I'm going to press be on my keyboard for the brush tool. I'm gonna make the brush a lot bigger and I want to paint in some concrete, you know, on top of this. So I have to paint in white, not in black. So I'm gonna switch it right here, compressed X on my keyboard and start painting it in. And as you guys can see, we are painting in, you know, to all the columns that we couldn't paint it before. So this looks pretty cool. And obviously there's some, you know, some errors with texture. It looks, you know, a lot of grainy, but you guys will get it, you know, in just just a second, just give me a second and ah, we're going to now import a texture for this area right here. So What we can do is go with the textures, Sadiq, select and live in another concrete texture. Drag it up and duplicated. Maybe make it much smaller. We don't need to be that big and it's merged these layers. Now it's go to render I d and see what we need to select. So we would need just like this. Ah, maybe this yellow wall we would need to select, I think mostly everything we would need disliked. So let's just start selecting. Ah, these colors right here. Maybe the green Aiken nor the tab add to my selection this purple this purple right here. That's probably right here in the back. It was train earlier on and said it too overly. And now select the masks one. So if we turn off our render a d, we have a texture applied over here as well, which looks pretty awesome. But there were some of that didn't apply the textures you guys can see, like the majority of these didn't apply the texture. And in the columns right here we didn't apply this extra so we can go back towards seamless concrete. Turn on the render I D and select these columns right here and go back to turn this off, go back to our mask and paint The texture in, which is perfect Now we're going to do is we're going to paint in the texture on top of you know, these. Ah, these spaces right here. But since this render I D has it in a lot of colors, let's see if we can do it without lines. Um, no, it's kind of difficult with our lines as well. So what we can do is let's see what we could do. This is the texture that we have applied, as you guys can see. There's a error here, right here with a column. So we're going to paint this column out of the picture. Hopes X just painted out because we don't want this column painted and let's see, where else do we have some errors? Maybe right here we could paint this column in and these stairs as well. Over here, we could paint all this in. Let's see, it looks fine. It's paint all this in, and we could maybe week a select the M tool for marquee and make a selection much, much quicker with only you know the areas that we want to paint in. So it would be kind of like this. And with their bee for bursts, we're just going to start painting in these areas, and this looks perfect. And here in the back, we're gonna paint it as well. So with em for marquee tool and painting the texture right here. 34. Colorizing textures and adding the sky: So this looks very, very cool for now. Uh, now we have the base textures of our building. Now what we need to do is, you know, group thes textures. So Yamuna. So, like all of these put them in a folder which says, concrete building. And maybe I can paint this orange? No. Then one of the important steps right here is the color of this of this roof. This roof is not just a concrete color, but it has a special color. So here I have my color palette. I'm gonna just drag it in like it inside, and I'm gonna, you know, create a color for this roof. So this roof is this layer right here, and I'm going to goto adjustments, human saturation, and with the altar tool, I'm gonna click right here. So any changes that I make are just to this layer below because you guys can see if I change it. It will just change this color right here, which is cool, but let me just see something. Okay. So this is not the layer that I want. I think I think it's another layer. Let me just No, I think this is This is not the layer. I think it's the layer below. So again, adjustments Hyun saturation its apply to this and it's press on color rise. Okay, so we're in person chlorides. You guys can see that this kind of purple But that's not the color that we want it. So let's just This is a one way we could start finding finding more or less like this kind of orange so we could just start colorizing this until we have that orange, which, you know, it looks interesting, But, you know, there is something that we need to correct, obviously, but But this looks interesting for now. Now what we're going to do is, as you guys can see, this base render is very dark right here in some parts. And we don't want it to be that dark because it looks, you know, it has a rendering field twit. We're going to go to our base images, open the folder, and go on top of this layer, goto adjustments and go to brightness and contrast. No, I'm just gonna apply this brightness and contrast to this layer. So I'm gonna press Ault on my keyboard and click right here and start, you know, increasing the brightness. As you guys can see, It's not as dark, but we can lower the contrast just a little bit. And this looks good. Now this obviously looks ah, bit overexposed because although our background is very, very white, so we're going to do is we're going to add some sky So for the sky For now I'm just going to turn on my color palette I have a blue here, so I'm going to press geo my keyboard Select this blue for now. And on this background later, I'm gonna painted in right here. Or maybe this blue No, I think this blue is fine for now. So this is not our final sky texture, but we for now, you know it works. So this is our gonna name this sky color because that's what that is. Now what we're going to do is we are going to, um we're going to go back to our our roof texture and maybe try another step. You know, another technique could also work, which we could add a new layer and weaken press control on your keyboard and write and click over here on top of this. So we we have this selection made again. I have a new layer, but I'm gonna press control on my keyboard and click on top off the mask. So the selection is gonna be made off on Lee of the Mask. And I'm going to go Toby for brush tool. And I'm going to like this color no one. Start painting it in now, after I have a painted in, What I can do is I can go to, uh I could select one of these filters, but I think multiply would work. But I'm not liking the orange very much, so I can just press control you on my keyboard and maybe I want to make it a little bit read. Now, that looks very, very, very cool. Okay, so let's, uh, start some adding some text, some interesting textures to the image. Right? So, you know, the main building has this red roof, which is, you know, it's very, very interesting, and we could also, you know, let's just make this a little bit lighter. So it's kind of too dark, right? So if we just make it, maybe let's add a different hue saturation apply it and make it a little bit later. We don't need to be. We don't need to be that light for Temple. This could be light. But now this is to to white. So what we can do is just go to our hue, saturation and painted black with a 10% opacity brush. You just painting a little bit of shadows, but not that much. So this is starting to look much, much more interesting now and what we can do right now hopes. I think this one doesn't have a texture, so it's just click on top of this and apply the texture right here. Whoops. - Perfect . This looks very, very, very interesting. Now what we can do is go back to our sky color press control you and whoops. Let's open this and sample are sky color, as you guys can see. It's in this portion now. Weaken saturated a little bit more, so if we want to saturate, it would just drag this circle a little bit too a little bit. Here, maybe and press D on your keyboard for coloring it. And this looks kind of cool. And let's turn our color palette again and see what main colors we have. So, um, what we can start doing is painting this concrete texture, you know, in this soft, soft color. So as again as just like we did with this roof right here, we can paint in both of these textures. Right? So what we can do is we can paint, you know, group them in a folder, and it's just call this concrete walls and columns, and what we can do is just create a new layer on top and select this color with our eyedropper tool. And I won't expand this and when press control my keyboard and select this Plus this right here. Now I'm gonna set this layer to multiply and hopes multiply, and I'm going to start painting in a little bit of these colors. As you guys can see, this is a little bit all over the place, but we can do is press control D and turned down capacity a ton and just leave it. And about 21% maybe a little bit less. So if you guys can see the changes very, very minimal. But it just makes the colors a little bit much more warm. Maybe we can even leave it less. 9% would be very cool melts. Turn this off. Now, if you go back to our mood board, you can see that there are very some very interesting images. I think this one has a very interesting sky. So if we go to our mood board images Oops, I think it's over here. We could just test and see how the sky would look Web. So although it's a little bit small, but you get what you gonna test and see how it looks? Obviously, this is the sky from a painting. It's a Colombian painter. So it has, you know, a lot of Colombian tones to it if you know that mixing sense. So what we're gonna do is just drag this just here below how you guys can see. So it looks, you know, the whole environment changes a ton can drag this right here on top, changes a ton, but we could maybe and see other ways of importing the texture but leaving the background color So we could, uh, go to our blend modes over here and, you know, selected blame a blend mode that goes with our layers. So maybe to be, Although I don't dislike this normal one, maybe I could just turn down the opacity a little bit. You know this If you ever seen the rain for sky, it looks very, very much like the sky. It's never this clear. So this looks kind of interesting in it. And if we zoom in, we're starting to see this. These interesting textures that we saw in a reference photos. Right. So we have this campus texture and here we have a concrete texture which looks very, very cool as well. So let's continue. So I think Ah, what we need to do now is add a foreground texture, not not the trees right now, but the foreground texture. So it looks a little bit, you know, darker. So let's turn our layer pallet on. And I think this this green color or this blue color could be it. So if we ah, create a new earlier and with the marquee tool, just select this area right here, and with RG tool, we can select this blue. We can see that it starts to look kind of interesting. And if we set this to maybe multiply. It looks interesting, although this doesn't have a proper texture. So what we can do is go back to our textures folder and select maybe another concrete texture, a different one and maybe rotated a little bit. Make it much, much smaller. Rast arises layer press control to just copy this very, very quickly. Now I'm going toe klik right here and mask it out. As you guys can see, we have a very, very interesting concrete floor. But let's let's bring this color in so we can. I just said it to multiply. Or maybe to overlay. I think this overly look color looks nice. It's just leave it off just a little bit there. So if we turn this off Wow, this starts to look very, very interesting. And, you know, the or the main keys here is to just ah, you know, follow a following more or less strict color palette and know what the principles color. The main colors are going to be so in this case, the red and the blue is going to be a main color, and now the green that we're going to start to import is going to start to look interesting as well. So let's go to the part on importing trees 35. Key takeaways for adding textures in photoshop: Okay, So what did you guys think? This image is starting to look interesting, right? At the first, I was like, Wow, could this be a good image? This is a question that you may ask yourself a lot. You know, sometimes in mid process, you're like, this image isn't going anywhere seriously, I think which I should start over again. But you have to have some faith in the process. You have to do more things that you have to trust in your mood board. So sometimes when I'm feeling that this image is kind of bad, I go to my mood board and asked myself, Okay, so why is it bad? Isn't the colors? Is the detective textures? Maybe it's the crop size to crop area. Maybe it needs to be higher lower. So these questions can maybe a alleviate your your stress for now and make have living more patients. So now we're going to start importing our vegetation and importing our people and let's see how they go, because that's the most interesting part. Let's go 36. Adding vegetation and people: Okay, so this is one of the most fun parts of our image. We're going to add some vegetation, and as you guys know, in digital collage, vegetation is very important, right? Why? Because the importance of digital collage or what differentiates it from basic rendering is that all the vegetation is not sometimes from the same family. Sometimes it's not from the same image there, just like digital cutouts. You know, if you feel if we gathered like, for example, if we gathered, if we just cut up that tree from this image and I imported into floor shop, then I took another photography and put it into floors up and so on, so forth. That is what collage is and you know, in the end, just gathering up a lot of images from different places and making it one single image that has kind of like one heart. So with this vegetation, which which I think is the sole this in this specific image because it's located in the Amazon and the Amazon has a lot of vegetation, it's known for its variety. It's by the diversity. So if you would like if your application is not so much about vegetation, but maybe about a desert. Maybe it's about snow. Maybe it's about no nature at all. You have to take advantage of that right, so we want our image to have the most essence possible, and there's a strong point in our image. I think my strong point is the vegetation, and you can ask yourself, What is the strong point of Miami's? How can my image be this much better or have this much connection to the context that I am designing for? So let's start. 37. Foreground vegetation : Okay, So to start this vegetation I have imported, the Henry were saw drawing and painting. And I'm going to just select a couple of his plans and mix it with some of mine. So I'm gonna create this process very quickly and let's see how it turns out. So what? The lasso tool. By pressing on my keyboard, I'm just gonna, like, you know, one of these and created in a nuclear right? So it's Let's just start, Okay? So if we look into our vegetation mood board, we're gonna see a lot of this vegetation. So I'm going to go to my folder and start adding my foreground vegetation. Now, this is all the four run vegetation in a wild winds, Adam, or for our background, Right? So let's go to, let's see textures, vegetation. And let's just see which one would work right now, here have many textures. Many of them are not even cut. So, for example, this tree let's see if it could work. So this has a very nice tone twit, but I think it's it's a very you know, cold tree for this tropical weather. So it's just erase this and let's go back to maybe, um, another vegetation folder I have over here. So maybe these could work a little bit. Ah, these are interesting, because I have ah, you know, different kinds of textures, but lets you if we drag it down, I think it looks like a little bit. Ah, you know, it doesn't just fit well with the image, so let's go again. Maybe some palm trees could be very, very nice. Now, here I have some very, very tropical trees. So let's see. Maybe this one could work. Fragment of this one. This one is too big for this image. Perhaps. Let's see. Maybe you could work as a bush. Mm, I don't know. It's not convincing me that much. It's just covered this. Russo. No, it's not going to be that much. Lets you race this. Let's go back to our folder and maybe select one of these palm trees. Now, these palm trees air small men. Okay, so they don't look, you know, Petzold out or anything. So they could. This could work, but let's see. What if other palm trees look of just a little bit better? Maybe these right here can look better. Although I don't know why these are so small. No, this one looks perfect. I'm going to erase this one. But this family of palm trees, I think this one is from the same family. I think they are. They're not from the same family. But what we can do is just turn this around right here. And let's just drag this flip horizontal and just dragged right here a little bit and make it just a little bit bigger. Now, this looks very, very interesting. Now, obviously, we have some missing spot right here, which we need, you know, some interesting shrubs to cover it with. So it's just keep on looking for some interesting vegetation, you know, here we have some tropical tropical vegetation as well. You know, we could drag this end. Maybe. And let's just place this right here on top. Okay? Okay. So this looks kind of interesting. Now it's just add another variety of plants. Do you know what happens if we import this one? But this one, we can we can leave it behind just like this, You know, some some of these, like, for example, this one is a lot, you know, It's kind of bright for these dark textures. So what we can do is right Click on Rast, Arise, layer press control you and turn the lightness down a lot For this one we can do more or less the same Rester Za rice tries later and turned the lightness down Now they all look like from the same family Although this one looks a little bit too to greenish we're gonna We're gonna change the hue a little bit to the blues side And this one is well changed the hue a little bit to the blue side Now we can add just maybe one mawr foreground tree And for now I think that would be it. Maybe this one Let's just duplicate this one and put it right here and again Rast arise this layer control you and make it a little bit darker and make a little bit bluish shirt. So this is starting to look interesting. And maybe we could add just one more. This one is perfect. So now we have our foreground vegetation and what we can do is just select all of these, put them in a folder and put foreground vegetation and we can color this green. Now let's go on to putting our middle ground and background meditation 38. Background and Middleground vegetation : Okay, guys. So we have our image for now. It's looking very, very good. I'm very excited to see the results, right. Right now I'm doing this with you guys, so, uh, you know, we're going to see how it looks before we start. I'm going. I'm just gonna, uh, fix something here, control you and make this palm tree a little bit bluish. Okay, Now I'm going to look for my background vegetation. So again, if you don't have a library like this, let's just do a very quick exercise and put tree lines. Now, when you put tree line, you're gonna get get these kind of results. And it was from these results that I have my own tree lines so you guys can do same thing, or you can go to textures dot com and you can Whoops, I think, is not it? Maybe texters dot com and you can go to landscapes, maybe look for tropical and we can we have various tree lines right here, which would work. Some of these look very interesting. Although these air very far away for you know, my specific image, this was just keep on looking a little bit more. Okay, so they don't have it right here. So you guys can see here we have. They have some interesting, interesting tree lines. What you could use you could use. Totally you could use. Um, but I have my own, so I'm not gonna use these. But you guys can use these from here from this awesome paid. So it's just go over here. I think I have some tree lines. These were all downloaded from the Internet for free. So you just I don't remember. This was, like, a few years ago, so you can just have to search a little bit more. I can't give give you these for free because, um, I don't know if you know the copyrights usage to this, but, you know, I'm sure you can find this for free. So again, I imported the texture. Now the tree line is gonna go just behind this. I'm gonna just make it a little bit bigger. And let's double click to see if it's not pixelated. And I think it looks good. And let's just make it a little bit bigger, perhaps. And if we drag this to the back, we're gonna see that we have our, you know, background trees now. But an interesting thing that I would like to see that you guys can see we drew over here was you know, the lines of the vegetation were the kind of, like, above the image. So weaken press controlled Tian keyboard and drag this up a little bit and, you know, find just the perfect spot for this to rest. Or maybe, you know, drag it up just like this. No, something like this would look very, very interesting. Now we could also draggers. Ah, a little bit up. No, I think it is fine. So, uh, this is starting to look very, very interesting. We have our background vegetation. Now, let's add our middle ground vegetation, which is some ivy, right? So let's go again. Toe are vegetation. I have some ivy right here. Just drag on top and let's just drag this right above this and make it a little bit smaller . Now, what this Ivy is going to do is it's going to, you know, tell my a my viewers that there's a plane right here on which this ivy stands. Although this ivy that looks a little bit too dark. Maybe we kid make this later a little bit more saturated and a little bit more bluish. Now, I'm gonna do this very quick, so I'm gonna copy this control t flip horizontal and make it a little bit bigger. Now, copy this and just adjust it right here. Copy. It may be one more time and maybe one more time. And why not? Maybe one more time. Just like Brittany said. So obviously, this looks hideous right now. Doesn't look attractive at all. But just wait and see. Wait and see. Come on. So what I'm going to do is I'm gonna copy just all of these right here. Just copy. That's very, very quickly. And now I'm going to select all this ivy and merge layers. Right? So I have this in leer and with my lasso tool I can with my clone stamp tool, which is right here. You compress s on a keyboard. I can select some of this ivy and start painting it in. Right. So again, since that I have a normal brush right now, it doesn't look as interesting. So it's Let's look for I A you know, an interesting brush Let's go to the show. It better brushes. And we could just, you know, select this and start painting in some ivy right here so you can get farther away. And whenever wherever, looks weird like, for example, all these, you know, spots look the same. You could just start erasing it because we don't want any similar spots. Let's just erase this very quickly. Maybe we just want one or two. We could also use a an interesting eraser. Like, for example, this sure is right here and randomly erase this. So it looks, you know, like, there's a, you know, different ivy over here. And it's not just the same one that's copied a ton of times. So now this is starting to look much, much more. Riel. There is this white line on top of this where I'm wins condoms gonna go with my, you know, select on brushes. Maybe this tree brush right here or no, maybe maybe this one right here and whips. And with the clone stamp tool, I'm going to start hiding this line. You can see a little bit of flying right here and a little bit of the line right here. So this is starting to look very, very interesting. We could also press control you if you want. You know your I V to be in a totally different color. You can also call Arise it. Like for example, I don't know what you could have some maybe like some purple flowers, which is also very common much. Let's see, the tone is kind of like this one. Perhaps, but this doesn't look very much good because it just competes with, you know, this roof. So I was gonna cancel it, and I'm just gonna leave it as it is. So I have my foreground vegetation, background, meditation and middle ground vegetation over with. We can also add some vegetation, right, young back. So let's just copy this, make it a little bit smaller. Perhaps just like this, and with a marquee tool just to select this spot press control shift I and erase everything that's not there. So we can have a little nice detail in the back. Okay, So our next step is going to be adding Ah, some entourage, some people to the the image. So let's check the next course t add some entourage 39. Adding people and animals : Okay, so we're going to add some people here. It's just group this ivy and a folder and put it. I hate being right here. No, I have since this is ah, in the Amazon in sits in. Since it's in Latin America, I have some Latin American people right here, which, uh, I think it is. It's included in this course. So if you can check the downloadable Zoff this course and you can find the in Latin American people And basically, if you open the folder, gonna buy, find some. You know, you know, some people from here from Colombia, but I don't want that many people. I just want, you know, certain characters. And I think this old man with the cane is a very nice character for this image. Ah, so let's just select this guy and he already comes with a shadow. So that is nice and dragon right here on top. So let's just press control t and make it smaller. And I think that is more or less the correct scale of this dude. So this looks kind of interesting. Let's see what other human figures we have. But see, um, maybe you know. Let's check right here. And it doesn't look that promising these these images. So right now, what we can do is let's check our reference images. Ah, I would love to add a David Hockney. You know, this this guy right here would look very, very nice. But it's not, you know, it doesn't apply to my context. So basically what I have to do, you know, I'm gonna maybe let's maybe we can change the color of this, do it right here. So it's press control, you on a keyboard and turn the saturation up. Or maybe just leave in black and white. Perhaps that that is another method as well. And let's see, let's just turn off this shadow. You know, I like. I like this technique. You know, we could leave in black and white, so it's just press control. T make it a little, make him a little bit smaller. Or maybe this shadow just a little bit of shadow. Not that much. And yeah, I think the images in black and white are going to look much, much better. So it's just it's like this woman right here and press control T to resize her and just put her way in the back Over here. Maybe just like this. And we didn't press control. You Oops. Press control. U N Just turn it to black and white. And since she's so black, I'm just gonna lower the opacity a lot. Or maybe press control you and turn up the lightness so she doesn't gain too much attention . She's kind of big for the perspective, so it's just make it make her a lot smaller. We don't want to hurt to be the protagonist here in the It's image, and he will be here to this old man. We can also trend likeness up a little bit, so they're starting to look interesting. But, you know, this guy is just in the middle of this frame and he seems to important. So I'm going to drag him right here, maybe over here, to the side and let's see, let's check out some more people. Let's see photo shop Entourage, people read, obviously want very diverse people. So this could work a lot for the place that we were in, because it's a very ethnic, ethnically diverse area. So the problem with placing things here is that. It's just it has too much attention to this main, you know, Main axes. So I think we can't put this guy right here. We just have to move him, maybe over here and press control you and turn the saturation down. And obviously this guy in all of these people, if we put them in the folder and call this people folder, we need to put them behind the foreground. Meditation Just like that? No. We can drag this guy maybe a little bit over here and turn the lightness up a little bit. Now what we can do, like the the people that we get import. We could also go over here and drag this guy over here, Maybe make him a little bit smaller. May be much, much smaller and press control you and turn the saturation down, controlled you and the lightness up When we turn the lightness up, we don't have that much contrast in our image. So it just takes attention away from these people and just makes him makes them blend a little bit much more in the background. Now, this is when we get far away. This is, you know, being too, you know, standing up too much. I think we need to erase this. And maybe we could put this guy right here. Now What I'm thinking is ah, I'm not going to import any more people. Maybe I'm going to import. Ah, some some trees of some people, perhaps, maybe, like I could just import one more person and maybe one more. So we can just balance out this image right here. And we can mask out this lady right here because, ah, she's just behind this. And now it's starting to look much, much more interesting. Maybe this lady can be a little bit down. And maybe this could we could add one more person right here. Maybe this lady, since it's a market plaza, I love going to market pauses, control you de saturation and just distract this lady right here. You know what? This is important. A lot of people, because I'm starting to look at it to see that it looks just much, much more live with more people on it. So, as you guys can see, it's basically more of the same. The same tools, right? So it's just control you over here. Maybe the saturation, maybe a masks And you know, not not that much. It's pretty much all the basic tools, but, you know, the key is, and knowing how to repeat them and knowing how to create them. Well, so maybe I want someone with a white T shirt. I put someone right here. This guy with white T shirt. See, maybe he could stand out, maybe just make him a little bit smaller and the lightness a little bit up and we can mask out. This guy is all his, all their things, And we can import maybe another person. This guy, perhaps, is perfect for this image, and we can scale him down. Control you d saturation lightness up. Now, while I putting them here and not here. Um, I don't know. Maybe I should have put him here. I think here he looks very good. And we could also mask him out because here, there's some errors. Okay, so, yeah, he looks interesting right here. So I think this image looks very, very nice. And we could also maybe add some some some birds, perhaps. You know, this is a very, uh, tropical bird. We could add. You know this bird, like right here. Let's just let's just drag this all the way to stop. And why? Because this yellow just looks nice on the image we could make him, you know, scale him down. Maybe just put him right in top off. You know, one of Rousseau's things and Oh, my gosh, this looks so perfect. It's just this yellow. It's very complementary. We can even make him a little bit bigger, I think. And this looks perfect. Now it's at some maybe some troops. Um uh, birds over here. Now, maybe there are too many birds. Let's just erase this. You know, the less the better Less is more. And we want to put these birds on this this side. Now, if you go back to our mood board, remember that I told you guys that I wanted to insert this tree right here, and that is precisely what I'm going to do. So I'm gonna look for this image. Where is it? It's right here. And obviously it doesn't have to be too big just about like this. And I'm gonna cut it out very, very quickly. Groups kind of it was kind of badly cut out. Let me just race this and let me just drag this layer to the back. And if we just rotated like so make it a little bit bigger and we're gonna drop the opacity , maybe press control you and drop the saturation a little bit and turned up the lightness or turned down the lightness. Her note. Now, this is starting to look very, very, very interesting. Right, guys, where do you guys think? So we are almost done with her image. So let's go to the final lecture for you know, the final tips and tricks. 40. Conclusions on adding entourage: Okay, so we just finished importing the vegetation, the people, the birds. And we have the majority of our imagery, so this looks pretty, pretty awesome. I am very excited about how he's looking. So the important thing to get from this section is that you can mitts different different types off vegetation. But in your people, in your in your entourage, you have to be very, very careful because it really depends on the context. It also depends on the style of the image, right? So some in some images, this is not like the general rule that you have to put in black and white. But in some images, it's better to put them in black and white so the architecture can stand out. In this case, the roof can stand out right. But in some cases it's better for the people to stand out because people like like the life and the whole spirit of the whole image. If you guys look at some of the images of Bon Appetit air off David Hockney, they have ah, very specific human figures with various specific human activities. Right? So without those human figures, you know, the image wouldn't be the same. So I recommend that you just don't use in all your collages black and white human beings from anywhere but that their people were entourage from your specific place of its Europe. If it's France, if it's Australia 15 a warm weather cold weather if it's ah, China, Japan. If you need a people from a specific places, I recommend you maybe go out with your phone, take pictures of people, maybe not, you know, frontal pictures, but people photos from behind from the side, nice pictures of people and then import them into your illustrations. You know, the more sometimes it can be very tickets. But the more time you spend on these little details, the better Here image is going to look, you know, someone is gonna looking to be like, Hey, you know, this guy is really this person has really studied where they're going this building. So that's what I recommend for you guys to do so now that we did this, let's go on to our final touches, right? So we have the majority or image ready. Now you have to have a final touches and see how we can improve or not improve the image. So let's go 41. Final Adjustments of an image: Okay, so we are almost at the end, almost at the end. And I'm very sad because I don't want to see you go yet. I don't want to finish this course. It's I'm so excited. I had so much fun with it. But before we finished, we have had some final touches to the image. And we have Teoh learn how to export the image and the best way possible. And there's a bonus. There's a bonus. Very special bonus, which is how to create a gift or a Jiff. Depends on the person you are with your image. So this is gonna be very fun because not only you're going to do to create it. Awesome collage. But you're gonna create a sort of video animation of your image. Right? So you've seen those images where the trees move, the people move, the birds move. We're going to do that as well as a bonus. So let's hop onto this last part. And if you were to take us 42. Final touches and reviews: Okay, guys. So we are almost almost there with our image. It's it's looking very, very, very interesting. I love how it's turning out, and as you guys can see, we have been very organized. We have done a lot of interesting stuff right here with have added some ivy, we have added some interesting stuff, and it's time to the final touches. It's time to ask those questions to see, you know, maybe what we can put in. Or maybe what we can take out, right? So it's sometimes it's it's not set, always off, putting you in, putting in putting money and sometimes it's taking out. So right now I'm looking at this Ivy, and if I turn this Ivy off, I'm seeing that the building is much more understandable that if I turn it on right, So this is something that I have to accept, and maybe that it's better this way. So if I'm gonna turn this ivy off, I have to correct these people. So So the mask for these people has to be corrected. So it's just correct these guys right here, Maybe this Kyle. So here has to be corrected, and, you know, we have to accept that it looks much, much better, you know, with the ivy. Then with the I'm sorry, without the Ivy than with the I V, we could also some. You know, some of you could say Let's just, you know, lower the opacity But then it just looks starts look weird. So we're gonna just I want to erase this ivy right now. Now let's go to our color palette. It's doing exercise. Let's try to find our color palette, which I don't know where it is, right here and in the middle of all of these things. Oops, I think I have to race this person, and this is the color palette. Let's just bring it on top. And let's just ask ourselves, Did we follow this color palette? Maybe a little bit, But maybe we could add something of the color palette. So, like, for example, let's just say Okay, so these maybe these ah screen Waas added. It was, It's over here, this blue. It's also like a little bit over here this orange. It can be more well here, like over here in this snake section and let's see what other color I think all the colors were added. If we go to the color of this Ah, of the roof. Remember that we had the roof of a different color. We could also, you know, ask ourselves Hey, could you know, maybe if we turn it yellow? Could this look better? Which some, You know, maybe it does if we turn it so blue doesn't look better. So maybe Okay, so right now it's in red, and I think it looks interesting, but I think it would also look interesting in a more orangey color. Right? So this looks interesting as well, So if we turn it off on on, we can see the difference. And I think this orange maybe looks a little bit more tropical and I don't know, it's a very, very tough decision right here. We could also, um, just instead of changing the color, we could just change the saturation and make it much, much more red, which would also look kind of interesting. And let's turn the preview off and on. So I think this change looks interesting. And, for example, this Ah, Plumtree. I think we could make it a little bit darker, So control you and darker and a little bit Biltmore, bluish and the same place for this control You darker and a little bit more bluish. We could even, you know, dark and up a little bit of these plans in the foreground. So they didn't There aren't, you know, calling out for too much attention since his press control you and turned down the lightness. And this is starting to look very very, or this looks very, very nice. Uh, maybe this these foreground trees. If I press control you, I could make them, you know, way lighter or darker or maybe less saturated. Let's see. So I think this looks very, very good. Now when we are creating our final adjustments, we can also you know, sometimes we think the image is good, but it's because we haven't tried. Maybe some adjustments. So it's just maybe let's just group this into a folder to have it organized. Scooped this into a folder. Just drop this right here. Whoops. Now it looks like, you know, a set of Mario. And so, as I was saying, sometimes we think that are images look fine just as it is, but maybe it's good to question ourselves. Hate? Could this be better? So what I do is go toe adjustments and go to black and white. In black and white, this image looks dope and with color looks Topas well, So maybe that's not a problem. Go to brightness and contrast. Let's lower the contrast sometimes images that have too much contrast. It looks like there were been worked at a lot. We want this Ah, Mork Lodge style image. So if we lower the contrast that we can see how it looks now, it's just turn it on and off. This is without contrast. This is with con. This is with lower contrast, I mean and this is how it is. So I think it just mutes the tones a little bit, but it makes it look. I don't know, interesting. I'm starting to like how it looks. Um, let's just get farther away. Perhaps. Yeah, I like it, you know, with the contrast Lord. Now let's make the brightness a little bit. Let's increase the brightness. Now we can increase the rightness that, but because this is going to be over over exposed, so let's just leave it as it is and Let's see, we could go to adjustments, hue, saturation, and we could change the hue of everything. But, you know, obviously get you. We could do an image at night while this looks cool, but it doesn't work. So one of the final steps that we could do is you start looking at the image from different angles, you know, questioning ourselves, you know, is this image of the right image. So the first step I do is just I press f on my keyboard two times, and I just make it full screen. So compressed trolls here on my keyboard and just start to look at it. No one oppressed, control minus. And it's going to start to get farther and farther away. So right here in this size, I'm gonna understand, Like, the basic composition of the image Was it right? Was the was the balance, right? As the crop. Right. And I think it looks very, very good. Now, another thing that we could do is with our our tool for rotating. We could just rotate this image right here. This looks interesting. Maybe rotated once again like this. This look interesting as well. So this is you know, these tests are to see if this image, you know, looks good from various angles. Now it's right. Click and select light gray. It's like default. Let's like black. Now, if your image maybe doesn't look good in one of these modes, you maybe want want to ask yourself, Hey, you know what does the image have? What couch? How can I improve it? Etcetera, etcetera, etcetera. So this looks perfect. And I think this is a perfect time to go to file save. And now the big question is, how do I export my image for the best quality? And this is something that we're going to see in this next bonus lecture. 43. Best export settings: Okay, so now we have our image, and it is ready, right? It is ready. Our image is ready. It has. It's very well organized. It looks very awesome. You know, after working in many, many things, we finally got it. Ah, it looks awesome. Looks awesome. So, uh, something that we can do right now is ask yourselves what is the best way to export this image? So I'm going to go to file and export and export as well. Im sorry. Here. It's not here. Um, file save as. And here I have a ton of options from J Peg to to gift to PNG, etcetera. So? So these are the basic tips. If you are going to use this as a digital image Onley meaning it's only gonna be in computers, tablets, phones, the best extension that we can do. You know, we can save this in is a PNG file. So we couldn't save this as architectural digital collages, market plaza, and we can save it with a underscore that says digital. Right? So why digital? Because the PNG has, you know, the best sort of compression mode for these images. And it doesn't just crush the colors. It just looks very, very cool. No, if we were to print this image, we would have, ah, to question ourselves. You know what is the best way to print it and where we're going to print it form from right ? So if we're going to print it directly from photo shop, no problem if you just go to file and print. But if you're going to import it in, let's say your presentation boards I would suggest that you import the Photoshopped file that you don't export a J peg or a PNG file or anything. I would suggest just a, uh, photos up file, right, And it just doesn't cross the quality. But if you have to export it, I remember that, um, some the majority of printers work with C m y que, like ink like insects. Right. So right here. This this mode is an RGB mode, its meaning I for red. Ah, what is this? This is red, green and blue. Yes, really going to do so. It's in this mode, but if we wanted, we would want it to have an RGB mode. I would have to change it and the clothes would change a little bit. So let's just take take a look. Now here we can say, Okay, don't rest. Arise. Okay? And maybe this is going to crush the images. You guys can see the image of the the color of the image was crushed a little bit and it's a little bit sad, but for now, since going to be a digital image, just press control Z and put it back to my RGB mode. So that is how we can export the image in our best way. 44. BONUS Creating a GIF: Okay, So in this bonus, like, sure, we're gonna learn how to create a gift, A gift with our image, All also ready. So we're going to do is we're going to go to view window timeline and go to go go to create video timeline. Now, what I'm going to do is I'm gonna try and see what we should add a mate, or you know what it would what would be good to animate. So, for example, we could animate these birds right here. It's just during one layer so we can go to the Group one layer that seats this one right now and select these birds, which are this one, and dropped down this menu and click on position. Right. So I'm going to go to the two second mark and click on precision. Now, I'm gonna go back to the zero and just put them right here. Now, if we play this, you guys can see the the The birds are moving. No, it would look very, very weird if they just stopped, like, right here. So I'm gonna dress drag this all the way over here to the five second mark, and let's just take a look. This looks much, much, much better. No, I'm going to animate maybe. Ah, this this mountain right here just a little bit. So what I'm going to do is I'm going to go to group to Let's see, it's just closed this group and Goto group to And here is the mountain. I'm going to go over here where it says it's just rast arises Layer two. Position to the five second mark and click on position. Now I'm going to go back right here and drag this down just a little bit. So if we zoom out and press play well, we don't see the change that much. But it's there. No again. Now I'm gonna do the same with the palm tree. So let's just go to the Palm Tree folder, which would be foreground vegetation. See for ground vegetation. Ah, let's look for the palm tree right here and we need to rast arise this layer Rast arise later. Now it's in position. I'm going to go over here and lock the position. Now I'm going to go to the zero second mark and just drag it below. Now if I press play on it. It's just gonna move a little bit. Right? And where Do the same thing with this one. Which is this one right here? Someone Ah, drop down the menu. The position is gonna be good right here. Click on position. No, I'm gonna go all the way back and just take this down a little bit. Perfect. Now I want to do the same thing with these. Ah, the's vegetation ins. And no one should do this very quickly. Let's see. Position right here. Drug it down. So, like, this one position right here slumped over here and drag it down. So this one position one second mark and drag it down. No, just like this one position. Go over here and drop it down. No, this one position here, drag it down. Now, if you press play, you know this kind of slow. But this is more or less movement, which this looks very, very interesting. Now we're going to do is go to file export, render video. Let's see, let's let the folder, which would be Project folder. Let's select the name, which is architectural digital clause gift. And we can set this on very high quality and render. Now, if you go to a folder, we can select the gift and this is the result, and it looks very, very cool. It's played again awesome. 45. Conlusions on the digital collage: So that is it. That is it. Guys and gals, we are done. We're done with the image. It was a very awesome project that I loved working, I hoping to make much more visuals just on the market plaza because it has so much stuff for me to work in. And I hope you guys like the result. So before we go, I want to make a less a small recap of the important things I want to leave you with, right, because it's not just, you know, you for you to see how to create this image or for you create at home. But go with the essential. You know, the essential thing about this process. So were the most important things that we saw in this course. Waas, First of all, understanding the context of the architectural collage right? It's not the same if we made a rendered, it's not the same. If you made a hand drawing, it's four specific risk reason that we made a digital collage. You have to ask yourself, Is the digital collage the best way to represent my image? My project? Or is it better to represent in a dry is it better to represent it in a hyper realistic render. How would it be better to represent it right after you've defined that it is a digital collage, which can be good or which can can be good? It really depends on your architecture, your way of representing your stuff. After you've defined that, I recommend that you study art. You study art references, cinema references, maybe music references. You know different types of visuals to see where you want your image to go right. Create a big mood board, create mood aboard. It can be in your computer, but it can also be on your notebook. You create a mood board off color palettes of Hastings of Magazines of Hastings, of different of different Things that you would want in your image. So that is very important and also create a color palette, right? So if if you are, if your project is in New York, New York has a very specific color palette. If it's Arno in Colorado or if it's an I don't know, France Knee citizen Brazil. Each country each place each block almost has a very specific color palette. Sometimes we don't notice, but if we go to the place and take a few pictures, maybe at night, maybe when it's raining. Maybe in the day, maybe in the morning, all right. And if we, you know, import them, it's a photo shop. We're going to see a specific color palette. And if you take that same picture in another part of the city in another part of the world , even if it's with the same camera the same time today, the color palette is gonna be totally different because people are different, you know, the context is different. The weather is different. The lack of the sky is way different. So I recommend you ask yourself, what is the color palette of my project? And also what is the color palette of my projects? You know, as you see volatile year David Hockney may. Although Rosie, they have a specific color palace. If you put all of their images together, there could be almost like one big image, because it's almost the same color palette. Now ask yourself, Could you do the same thing with your image? Could you, you know, mix them together and make it look just like one big image? If not. Maybe you're a little bit all over the place, right? But sometimes when people create realistic renders, when they create digital collages and everything, if they have the same color palette with all them together, they would look very, very good. So that's a big lesson that I think we should take away from this. And finally, obviously, there are a lot of technical things that we can take away from this court's right. First of all, the shortcuts recommend you guys use them practice, then print them out, used more shortcuts, shortcuts. Whether you like it or not, they reduce. You know, the time of that work into in a project in seconds, right? So So if before when you used to go to the brush tool used to drag your mouse, it was about 1.5 seconds. But if you do that about, I don't know 30 times 60 times during a project you're losing Oh, minutes, five minutes. And then when you accumulate, all the products may be yours in half an hour, one hour. So when you start doing using these shortcuts, your workflow speed is going to be very, very quick and finally you know, using force up to import textures to blend them. My experience, or what I would like to say to you is that it's a lot of experimentation, right? So you can see a specific process which I tried to make it a very method very in a very specific method. But but here your image is different. Sometimes your method could be different, right? So if you're in the middle of an image but you start to explore by the one with other sides , it could be valid as well. So I recommend that you experiment in photo shop. But this experimentation goes in line with the mortar board and the preliminary drawing. Once you have this, you can experiment a lot a lot because you're experimenting within this frame, right? But if you just go into photo photo shop and start experimenting, you're gonna be all over the place. So I recommend that you go into photo shop, you know, not with a specific method that Oh, the teacher. I said it has to You have to do 12345 in this order. No, you can. You can experiment two different things and that's what I recommend you guys doing. So in conclusion it was a great course. I hope I can see your images. The ones that you've done with me in the comments below. If you can, you can write me. Send me a message. An email sent me an email. I want to see your images I want. You know, if you have any doubts, I'll try to answer them as fast as possible. And thank you. Thank you so much for taking a course. I recommend that you guys keep on studying art, history, collage, different types of methods of architectural representation. And, you know, you know, educating yourself much more on the subject that Z there's so much things to learn that you know, I'm still learning jumps. I'm still trying to learn for photographers from Marty's etcetera, etcetera. So my name is Steven Rubio, and I am very glad took this course with me. Thank you so much. And I'll see you perhaps in the next one. But