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Hey Gang. This is Deke McClelland. Welcome to Deke's Techniques. Now today, I'll be showing you something that I'm willing to be 99% of you have never seen before. And that's how to create, and apply 3D bump mats inside Photoshop. We'll be starting with this rocket ship, that I created entirely from scratch inside the program. And if you'd like to learn how, check out my short course introducing Photoshop 3D, which is specifically designed to bring those of you who are adept at Photoshop up to speed in the amazing world of 3D inside the program.
It's gotten so much better over the last couple of years. And then we're going to open this image and turn into a repeating tile pattern, and then wrap it around the. Rocket ship, as a bump map in order to create this riveted surface texture that you see here. Here, let me show you exactly how it works. All right, here's a smooth version of the rocket just so you can see it on screen, and here's the rough version. Thanks to the application of this metal rivet bump map.
So the first thing we need to do is define a repeating tile pattern, and I'm going to do that, using this image here, it's very small, we're seeing it at 200%, and it comes to us from the fotolia image library. About which you can learn more, and get special deals, at fotolia.com/deke. Now to turn it into a pattern, all you have to do is go up to the Edit>menu and choose Define Pattern. Photoshop will automatically name the pattern after the image name, so all I need to do is get rid of the .jpeg, click OK, and I'm in business. We no longer need this image, so go ahead and close it, and then switch over to the smooth version of the rocket.
Now when you're modifying 3D objects inside of Photoshop, you want to work in a 3D workspace. So, go up to the upper right corner of your screen to where I see one on one because I have a custom workspace already saved. You may see essentials, you want to switch it to 3D. This next one down here, and that's going to display the Layers panel. The 3D panel's next door, and the Properties panel is up above. Those are our three main panels when working with 3D artwork inside of Photoshop. Now, assuming that you're working along with me, you want to Double-click on the thumbnail for the Rocket layer.
In order to switch over to the 3D panel. And then, you're going to see all of these various items here, starting with Environment, followed by Scene, then Current View and so forth, assuming that this icon is active, Show all Scene Elements, as it should be by default. Then you'll see this mesh right here called Body, which represents the body of the rocket. Including the cone, the purple cone up above, and yellow engine down below. You want to make sure that's twirled open so the triangle needs to be pointed down. So that you can see the materials, including most importantly, this guy right there, body extrusion material.
So the third material down is the one you want. All right, so assuming you have a material selecting, you should see the materials options up here in the properties panel. The fourth slider down is labeled bump as you can see. Now it's set to ten percent by default but that doesn't do anything because we don't have a bump map yet. We're told that by this empty folder. So when you see a folder associated with one of you material attributes. That means you haven't yet assigned a texture. To do so, click on a folder, and then choose New Texture, in our case.
And Photoshop will ask you what you want to call the texture. I'll just call mine Metal Rivets, what the heck. And I want it to measure 1500 pixels wide, so you want to be working in pixels 1000 pixels tall. Resolution really doesn't matter. The color mode should be RGB. Then you want to go ahead and click OK. Now all that does initial is turn off the ray trace, so we're seeing the standard 3D preview, which is helpful but not entirely accurate. Notice that the rocket is way too shiny. Just ignore that for now.
We will render the scene later. Next what you want to do is give your empty bump map, you just created a blank new bump map it's not doing anything. To make it do something, you want to click on what's now a little page icon. That indicates that a texture has been assigned. You want to click on it. And choose Edit Texture. And Photoshop will open up, this blank image as you see here. Okay, now we need to Add in our pattern. So, switch over the Layer's Panel, and go ahead and drop down to the little black white icon at the bottom of the panel here, click on it, and choose Pattern from very close to the top of the list.
Now Photoshop, should automatically select that last pattern you created, but if you don't see it, then click on the pattern, and choose that last pattern, which in my case is metal rivets. And then, I want more rivets than this, so I'm going to reduce the scale value to 50%, so I have lots and lots of rivets, and then I'll click okay. Now I want to save this bump map back into the 3D composition, and I do that by going to file menu, and choosing the save command, or of course, you can press control S, if you prefer. Or command S on the mac now Photoshop may bend your ear about whether you want to maximize the compatibility, in this case whatever you normally think of this check box your want it off because its not really serving any purpose in the context of this bump map so turn of the check box click OK if you don't see it don't worry about it.
And then switch back to your image at hand, and you'll see a few things. First of all the rivets are stretched vertically. Now that's misleading because actually I'm going to switch back to the bump map. Its rotated ninety degrees. I just happen to know this where this specific 3D object is concerned, the body of the rocket that is Photoshop has rotated the bump map 90 degrees, and wrapped it around that rocket. And so, what that means is the fact that, the rivets appear to be stretched vertically means they need to be stretched vertically.
And I'll show you what that looks like in just a moment. And secondly, even though it looks like the bumps are going outward, the rivets that is, they're actually going inward and we can see that that's the case. By rendering the scene. And you render the scene, in Photoshop. And I want you to know the best way to do it. You can click that little Render button, down here at the bottom of the Properties panel. Maybe you like that. We've got another Render button that's at the bottom of the 3D panel right here. And it looks the same. It looks like a cube inside of a box. But my favorite way to work, and this is just me.
Up to you how you work. I like to go up to the 3D menu, and choose the Render command. Only I don't really like to do that. I like to use the keyboard shortcut. Ctrl+Shift+Alt+R here in the PC or Cmd+Shift+Opt+R, on the Mac. But anyway, choose your poison. Just bear in mind that when you render the scene, you are ray tracing that scene. And that is your only method for gauging how the scene really looks inside of Photoshop. You have to constantly render it over, and over again. Now, if you take a look at how much time is remaining, we've got more than 12 minutes on this machine.
It may be going faster or slower on yours if you're working along with me. You may say to this, I'm not waiting, there's no way I'm going to be rendering this scene and waiting around twelve minutes. I want to get this darn project done. Well, you don't have to render the completion. You just have to render enough so you can see what's going on, and notice if I click somewhere inside. The image. I can see that the render process can be found below fine, also didn't get to read the rest. Click the Escape key, you know click, you press it. Anyway, press the Escape key to cancel. So that's what you do.When you get sick and tired of waiting press the Escape key.
Now the thing about cancelling a render is that your image is gonns look a little rougher than it will. When it's finally done. So you're going to see more noise. That is random variation between neighboring pixels inside of that render. Anyway, what I want you to denotice is that the rivets are poking inward, not outward. So that is a problem that needs to be solved, my friends. And we're going to solve that problem by switching back to the bump map in progress. Also switch back to the layers panel. And I'm going to make a copy of this pattern layer, because we ultimately need to rasterize it.
So, I don't want to lose the original, so I'll press Ctrl+Alt+J or Cmd+Option+J on a Mac to jump it. And I'll call this guy Raster Rivets, let's say and I'll click OK, in order to create the new version of the layer. I'll turn of the original just to keep it safe, and sound. Using my rectangular marquee tool. I will go ahead and right click inside the image window, and choose restore layer. And the reason I'm doing this is two fold. First of all I need to stretch my image. In order to account for the stretching happening back in the 3D composition.
I need to go up to the edit menu and choose free transform. Now if it wasn't for the fact that this bump map is essentially getting rotated 90 degrees by Photoshop, mind you, on the fly, then I would think that I need to squish these rivets vertically. So that they're not as tall in the 3D composition. But really what I want to do is stretch 'em out this way. So I'm going to increase the height value. Right up here in the Options bar, don't turn on the chain. Change the height value, if you're working along with me, to 300%.
And notice that stretches things horizontally, because I went and rotated this texture on the fly here. Now I'll change the rotate value, because I don't want to do that. Photoshop is already doing that for me. I want to change this value back to zero. And it'll end up with this effect here, and I'll press the enter key a couple of times in a row, that's the return key on a Mac, in order to complete that modification. So I've just stretched the rivets that will stretch them inside the composition, but as opposed to stretching them vertically the way we've done, it will stretch them horizontally. As we'll see in just a moment.
Now, I need the rivets to go out instead of in, and I'm going to make that happen by going up to the Image menu, choosing Adjustments, and choosing Invert. So we're inverting the colors, making what's light dark and what's dark light, and we end up with this effect here. And now, I'm just going to go ahead and close the image. And I will say yes here on the PC, that I do want to save my changes into the 3D composition, you would click the Save button, on the Mac. Now we've got round rivets, where we had elliptical ones before. So we solved that problem. It looks like they're dipping inward, but that's because we're looking at the 3D preview.
I'm going to zoom out a click here, so that we're seeing the image at 100%. As soon as we render the image. And I'm going to do this by pressing Ctrl+Shift+Alt+R or Cmd+Shift+Opt+R on a MAC. And you can see even after a few seconds, of rendering here that the rivets are bumping outward. Now of course I want you to see what this image looks like when it's all done. But there's one change that I want to make. And that's this bump value. Notice that it's set to 10% by default. I want a little more bump action than this.
So I'm going to press the Escape key. If you want more contrast, why you can take this value all the way up to 100% if you really want to mangle the heck out of the rocket. And notice now it looks like it's made out of tinfoil. And it is going to be very textured indeed at this setting. I'm just going to take the bump value up to 15%. And then I will once again press Ctrl+Shift+Alt+R in a PC, Cmd+Shift+Opt+R on a Mac, and what we're going to do is let this thing run in the background, and thanks to the modern miracle of video editing, I can show you what the final rendered version of the scene looks like right here.
And, long and behold, in the end, we've managed to add a textured surface to our rocket. Thanks to the power of 3D bump maps, here, inside Photoshop. All right, that was fun but, we do have a tiny little problem. I mean, if you look closely, you'll notice, we've got rivets on the window. Which doesn't make any sense at all. As well as along this white strip right there. Which is why, for those of you who are members of the Lynda.com online training library, I have a follow up movie in which I show you how to paint away those extra rivets using the brush tool.
That's right, you can paint directly on 3D objects inside Photoshop. If you're waiting for next weeks free movie, I'll be showing you how to use lens flare, and a rainbow gradient, to add these wonderful reflections, on the surface of the window. Deek's Techniques, each and every week, keep watching.
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