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A crucial step in building a realistic digital matte painting is texturing your scene. This course shows you how to add light, color, and texture to a basic form using photographic references and the tools in Adobe Photoshop. Author David Mattingly starts the lessons where Digital Matte Painting Essentials 3 left off—with a fully shaded 3D form—but you can also jump straight into this installment to learn more about texturing. Start now to learn how to add crenellations, color correct your form, distort and relight photographic textures, and add glows and special effects that make your painting convincing.
We have all the new castle details we re-lit so now we need to color correct them. Lets start with the filigree tower. This tower is green, so we need to do a somewhat more radical color correction then the more neutrally colored elements. So lets work through the process like before. Add a curves adjustment layer and Option or Alt click on the line between the adjustment later, and the filigree tower layer to confine the adjustment layer to the layer below it. First, it's too light, so let's pull down on the RGB white point.
It's way too green, so select the green channel and pull out some of the green. We need some yellow to counteract that maroon, so pull down on the blue white point. The dark side of the tower has gotten a bit too dark, so pull up on the shadows part of the curve, and down on the highlights. Let's color correct the tower below it next. Add an adjustment layer, and again confine its effect to the tower layer. The tower is way to light so pull down on the white point, and it needs to be red so pull out some green and add yellow by pulling out blue.
It looks too red so lets remove some red. And then darken the tower overall by pulling down on the midpoint of the RGB curve. Let's deal with the onion tower next. You can see these corrections are relatively similar, and you could just duplicate and then tweak the first color correction curves adjustment layer you created. But working through the adjustment fresh for each layer isn't a huge amount of work and you'll want to get some practice ranker in your color curves. The onion tower needs a little more contrast in the darks, so pull in on the black point and down on the white point.
The color correction on these next two elements is very similar. So, let me speed through them. Darken it. Remove green. Remove blue. And remove red. Pull in on the black point to darken and add a little contrast overall. And this little detail above the doorway. You should be getting the hang of this by now. The contrast between the light and dark sides is a little too much, so raise that shadow part of the curve and pull down on the light side.
Now they balance out nicely. Lets turn our attention to the arched side wall. It looks too smooth, so we should add the texture we have covering the rest of the castle, but lets do an initial color correction on it first. Add an adjustment layer, confine it to the wall layer below it, darken it, remove the green, and, finally, remove a little red. It looks like it could be even a little darker so let's pull down on the midpoint of that RGB curve.
Let's load the selection for the wall. The texture for the wall resides in the Dark Side Texture layer. So dig down into your layers to find that. Select the layer, and copy that bit of overlay texture onto a new layer. The copied section is still set to overlay. And now pull it up on top of our wall layer. Notice since we dropped it in between the adjustment layer an the wall layer, which is being used as a clipping mask, it becomes a clipping mask also.
In this case that's what we want. Now our new wall has the stone texture overlaid onto it just like the rest of the castle. The overlay lightened our color correction, so we need to adjust it a bit. Pull down on the midpoint of the RGB curve, and also on the white point. Now it looks a little bit too red, so let's switch to red, and pull down on that curve to neutralize the color a bit. All we have left is this tiny tower up here. Let's zip through this. Darken it.
Pull out green, pull out blue, and pull out a little red. It still needs some yellow. Pull out a little more blue. And that finishes up the color correction of these new photographic details. Before we leave color correction, I want to show you a really wild color correction that can modify reference far beyond what you probably think you can. And, we'll do that in the next lesson.
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