Viewers: in countries Watching now:
Take a virtual journey to the bustling streets of New York in Bert Monroy: The Making of Times Square. Digital painter Bert Monroy reveals how he created the minute details that build the impressive 108,000 x 21,600 pixels, 25-feet wide photorealistic portrait of this iconic intersection.
In this installment, The Techniques, Bert shows the steps he took in Photoshop and Illustrator to create the lifelike detail in his incredible portrait of Times Square. The course follows him as he paints in steam, reflections, shadows, materials like fabric and metal, spot lights and neon light, and even 3D objects such as store logos and M&M'S. Bert shows how digital artists can recreate these effects at home, backwards engineering his artwork with painstaking attention to the tools and commands he used to get there.
In this and the next three movies, we're going to look at how the curtains and various windows throughout Times Square were created. In this movie, we're going to look at the windows right here in the Marriott Hotel. We can see there's quite a few. Now this is a low-res file, so let's look at the high-res version of this image. There we see the windows. Now this window here, the curtains are brightly lit because the lamp is right next to them, and it's on. This room down here, the light is somewhere else in the room, way back here. The linen curtains are little softer. And in this room here it's dark, so the curtains are just visible as these little swaths of light tones in there.
Let's go in here and create these. There's the room itself without the curtains. And as you can see, each element is in its own layer. So we're going to create all the curtains first with the Pen tool. Now the first thing I am going to do is the curtains that are the heavy dark curtains, the ones that block up the light for the room. So I am going to go in here and create a shape that just kind of flows like this, and you notice I am not going with straight lines because these are all curtains, and they're long curtains and sometimes they fall in certain ways.
I am just going to go in here and create this shape, and I make sure that I go beyond the boundaries of the window, so it will bleed right out, and I don't have to worry about anything that's just popping through there. Do the one on this side. And again, I am going to just kind of fold this one, like so. This one has more of a curve than the other one. And we'll go in there and close it off. So I am going to save that path. I am going to call that path the dark curtains, and turn it off. Now we're going to create the shapes that are the linen folds.
So I am going to start right here. This one is almost closed off, and I am going to create this long kind of a shape here. And you'll notice that again I am not going with straight lines. It's kind of like a cone upside down, and I am going to go in here and start creating a whole series of other shapes. There's a couple of thin ones here, a couple of thin folds. And I'll do a little thicker one right here and then another thin one here and then one that just kind of goes behind the edge of the window right there.
And on this side, we'll do the same thing. I am going to create a series of shapes, which will become the folds. And the one that's just hiding back there, I'm going to have it curl in there like that. And there we see that we get this little space, so let's just--there we go, so now we're completely inside there. Now I am going to create one more set, which is the back part, the big area in back of all these folds--the main section of the curtains. You notice I am just cutting right through there to create that shape there.
So we'll save that as the linen curtains. Now we have our two paths. So at this point, I suggest you save. Okay, so now I am going to go in here and start to create these curtains. First, I am going to go with the dark curtains. Now I've picked the red right from the bedspread here because it will keep the color-coordinated room so we have the spread of bed match the curtains. So what I am going to here is I am going to put the dark gray and I am going to make this a little darker, slightly darker gray.
These are the heavy curtains that block out the light. So I am going to take that dark gray and we're going to create a new layer right on top of this, and this will be the dark curtains. And I am going to go ahead and fill that path with that dark gray. There it is. So now I am going to make it a selection. I am going to pick up that red and I am going to just going to very, lightly along the edges and unevenly, throw in a little swath of this red, just so we get a little hint of the red going through.
Now here I am going to do it unevenly, so I am going to have a little more at the bottom and a little more at the top visible like that. Okay, so then we just throw in that little red, just to give it a hint of that interior of the curtain, and there it is. Now keep in mind that this is mostly going to be covered with the linen curtains, so we don't have to worry about it being too perfect. So now we're going to go in there and do the linen curtains. First, I am going to select that large piece that I did, the one that's for the back of the curtains right there, and that's the main section of the curtain.
All right, so I am going to create a layer on top of this, which we'll call linen main, because that's the main body of the curtains themselves. And I am going to go in there and pick a slight off-white color right there. There it is. And in that layer I am going to go ahead and fill that path, just like that. Now I am going to select all the paths that make up the folds, select every one of those-- there they are--and in a new layer which we'll call the linen folds, I'll go ahead and fill that path with that same white. There.
So now we want to make this thing look real. So I am going to go into my Layers again and I am going to take the linen main. I am going to bring down the Opacity so I can see through it, right through there, like that. And then I am going to take the linen folds and I am not going to bring down the Opacity on those. I am going to bring down the Fill Opacity, because first I am going to go into Layer Styles, bring down the Fill Opacity so we can see through it just like we did with the other one, and then I am going to give these guys an Inner Glow. I don't want it to be a yellow, so I am going to go with a pure white here, and increase the Size just a little and kind of choke this so it becomes a little harder.
There we go. Bring down the Size, so there we see these nice little folds in there where we're having the little flow of the curtains themselves. I am going to bring down that Fill Opacity a little more, let's say about 35. That looks good, so we could really see through them like that. Click OK. I am going to have the back linen main right here, which right now has this hard edge, I am going to give that a blur. We'll go in there and say give it a Gaussian Blur, and we'll soften up that edge so we get that nice soft fold right through there, like that.
And we'll bring that its Opacity, bring it down to about 30, so we can really see through it like there like that. Or maybe that's a little too much. Bring it up a little bit and there you can see how we have these nice soft linen curtains flowing through. Now if it's a little too bright, we can always take the linen and bring down the Opacity for the overall layer so it gets a little softer like that, and there we have these nice soft linen curtains. Now in the case of the one where the light is real bright in here, what you would do in that particular case is that we're going to go in and create a big glow right here.
So on top of this, I've got pure white and I take a paintbrush and make sure it's really soft, and I am going to get a nice big size. I am just going to throw a big blob of white right here and a blob of white right there, just like that, so we get this nice bright white right there. And then what I am going to do is I am going to give that a mask, and in that mask I am going to use my paths to then fill that mask with the black. I have black, so I am going to take my linen curtains and I am going to take the main shapes right here, this one and that one, and in that mask, I am going to go ahead and fill it with black.
Okay. Then, I am going to take this outer one in both cases, and again, I am in that mask, I am going to go ahead and fill it with black. Turn off the path and then go back into that layer and into that mask and invert it. Just hit Command+I and there you can see that now we have that nice glow in the curtains. Now I did it in reverse. Why? Because I had the selections that would allow me to easily fill it with black and then when I was done, I did an invert so that I can go in there and just apply the mask so that the center part is hidden and the light tones are shown in the curtain itself.
There are currently no FAQs about Bert Monroy: The Making of Times Square, The Techniques.
Access exercise files from a button right under the course name.
Search within course videos and transcripts, and jump right to the results.
Remove icons showing you already watched videos if you want to start over.
Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.
Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.