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Enhancing CAD Drawings with Photoshop® Scott Onstott SYBEX® 4386FM.fm Page i Tuesday, November 16, 2004 10:00 PM Enhancing CAD Drawings with Photoshop ® Scott Onstott San Francisco London 4386FM.fm Page ii Tuesday, November 16, 2004 10:00 PM Publisher: Dan Brodnitz Acquisitions Editor: Willem Knibbe Developmental Editor: Pete Gaughan Production Editor: Lori Newman Technical Editor: Ryan Spruston Copyeditor: Pat Coleman Compositor: Kate Kaminski, Happenstance Type-O-Rama CD Coordinator: Dan Mummert CD Technician: Kevin Ly Proofreaders: Ian Golder, Nancy Riddiough Indexer: Nancy Guenther Book Designers: Maureen Forys, Happenstance Type-O-Rama and Judy Fung Cover Designer: John Nedwidek, Emdesign Cover Illustrators: Scott Onstott and John Nedwidek, Emdesign Copyright © 2005 SYBEX Inc., 1151 Marina Village Parkway, Alameda, CA 94501. World rights reserved. No part of this publication may be stored in a retrieval system, transmitted, or reproduced in any way, including but not limited to photocopy, photograph, mag- netic, or other record, without the prior agreement and written permission of the publisher. Library of Congress Card Number: 2004113401 ISBN: 0-7821-4386-5 SYBEX and the SYBEX logo are either registered trademarks or trademarks of SYBEX Inc. in the United States and/or other countries. Mastering is a trademark of SYBEX Inc. Screen reproductions produced with FullShot 99. FullShot 99 © 1991-1999 Inbit Incorporated. All rights reserved. FullShot is a trademark of Inbit Incorporated. The CD interface was created using Macromedia Director, COPYRIGHT 1994, 1997-1999 Macromedia Inc. For more information on Mac- romedia and Macromedia Director, visit http://www.macromedia.com. Autodesk VIZ is a 3D solution for modeling, rendering, animating, and creating photorealistic design visualizations. It can be used to explore design concepts, communicate design intent, and share work with clients, colleagues, and consultants. Straighforward modeling features and unique interoperability with other Autodesk design applications add flexibility and efficiency to the creation process. It allows clear and accurate sharing of design ideas with advanced global illumination processes (including the mental ray renderer) to capture even subtle effects for realistic 3D visualizations. Autodesk, AutoCAD, Design Web Format, and DWF are either registerd trademarks or trademarks of Autodesk, Inc., in the U.S.A. and/ or certain other countries. Mental ray is a registered trademark of mental images GmbH & Co. KG, licensed for use by Autodesk, Inc. Certain content, including trial software, provided courtesy Autodesk, Inc., © 2005. All rights reserved. SYBEX is an independent entity and not affiliated with Adobe Systems Incorporated, the publisher of Adobe ® Photoshop ® software. 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However, in all cases, reselling or redis- discover a defect in the media during this warranty period, you tributing these files without authorization is expressly forbid- may obtain a replacement of identical format at no charge by den except as specifically provided for by the Owner(s) therein. 4386FM.fm Page iv Tuesday, November 16, 2004 10:00 PM To Maximilian and Isabella 4386FM.fm Page v Tuesday, November 16, 2004 10:00 PM Foreword Adobe Photoshop has made an enormous impact on the way architects work. We can now experi- ment with color schemes with a click of the mouse and have complete control over the colors we use. We can combine computer-generated 3D models with actual site photos to see how a design will look when it’s in place. When combined with AutoCAD, presentation material can be generated faster and with greater accuracy. Cut-away views of 3D plans can be rendered and colored in hours instead of in days. But Photoshop is a complex program with a lot of depth. Until now, the unique methods that architects need to employ with Photoshop had to be learned through trial and error, or by gathering knowledge from disparate sources. Enter Scott Onstott’s Enhancing CAD Drawings with Photoshop. When I first heard about this project, I was very excited because it’s the book I’ve been wanting in my own library for some time. And having worked with Scott, I have no worries about the quality and content; I know how Scott works, and he leaves no stone unturned. His writing is thorough yet easy to understand. Those qualities combined with his professional experience using Photoshop in an architectural setting make Enhancing CAD Drawings with Photoshop a killer book. I don’t think anyone could have found a better combination of knowledge, experience, and writing skill for this project. He starts out with a chapter for complete beginners, to help you understand how Photoshop works and how it differs from CAD software. Next, he delves into the all-important topic of color and all its ramifications. This chapter alone is worth the price of admission as it covers color calibration; understanding calibration can save your office hundreds of hours in wasted time. Next, Scott shows you the tools that let you fine-tune color, sharpness, and other effects. Chapter 4 covers one of my favorite topics, entourage, where you learn how to add life to a computer-generated 3D model. Later chapters discuss methods for rendering 2D images from CAD plans, such as floor plans and eleva- tions, and get into the nitty gritty details of combining images from different sources. Scott presents some great information on alpha channels and layers—key tools when combining 3D and 2D images. Finally, Chapter 9 covers the all-important methods for getting consistently great hard-copy output. If you are an architect looking to get the most out of Photoshop, look no further; it’s all here in Scott’s book. You could probably buy five or six other general Photoshop books and still not find the gems that are pressed between these pages. Great work, Scott! Regards, George Omura Author, Mastering AutoCAD 2005 and AutoCAD LT 2005 4386FM.fm Page vi Tuesday, November 16, 2004 10:00 PM Acknowledgments First I’d like to thank my wife, Jenn, for her loving support and encouragement throughout this project. I’d like to thank all those at Sybex who worked on this book for their help in publishing this, my first book as sole author. Although I’ve worked on numerous Sybex books in various supporting roles, and I self-publish many digital books and video courses, it is quite an honor for me to see this book in printed form. Thanks to Willem Knibbe for believing in me and presenting the opportunity to write this book. Thanks go to Pete Gaughan for his unfailing support and excellent editorial feedback, making this a much better book. Thanks to Ryan Spruston for being a great technical editor and to Pat Coleman for very helpful copyediting. Lori Newman also deserves thanks for keeping all those working on this project on track. Special thanks to Richard Trueman, Stephane Osmont, Christian Sterner, Chan Lee, Michael Sech- man, and David Wright, who have all taught me a lot and offered their support over the years. 4386FM.fm Page vii Tuesday, November 16, 2004 10:00 PM Contents at a Glance Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xiii Chapter 1 • The Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Chapter 2 • Working with Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Chapter 3 • Digital Darkroom Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Chapter 4 • You and Your Entourage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Chapter 5 • Presenting Plans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 Chapter 6 • Elevating the Elevation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 Chapter 7 • Creative Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 Chapter 8 • Illustrating Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 Chapter 9 • Showing Work to Your Clients . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291 Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 4386FM.fm Page viii Tuesday, November 16, 2004 10:00 PM 4386FM.fm Page ix Tuesday, November 16, 2004 10:00 PM Contents Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiii Chapter 1 • The Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Color vs. Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Anti-aliasing and Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Raster Data Storage and Compression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Understanding Modes, Bits, and Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Bitmaps and Grayscale Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Color Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Color Bit Depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Additive versus Subtractive Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Selecting Pixels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Saving and Loading Selections with Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Using Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Organizing Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Layer Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Layer and Vector Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Clipping Groups and Knockouts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Layer Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Painting, Adjusting, and Filtering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Using Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Making Adjustments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Using Adjustment and Fill Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Applying Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Reversing Changes: Undo, Fade, and History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Text, Shapes, and Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Creating and Editing Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Creating and Editing Shapes and Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Sizing and Transforming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Setting Image Size, Resolution, and Document Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Straightening Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Correcting for Two-Point Perspective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Chapter 2 • Working with Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Modes and Gamuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Color Spaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Calibration and Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Profiling Your Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Disabling a Printer’s Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Consistent Color Printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64