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314 Creating a 3D bump map

From: Deke's Techniques

Video: 314 Creating a 3D bump map

Hey Gang. All right, here's a smooth version of the rocket just so Now I want to save this bump map back into the 3D composition, and I do that by going And I will say yes here on the PC, that I do want to save Now we've got round rivets, where we had elliptical ones before.

314 Creating a 3D bump map

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.

Show transcript

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Deke's Techniques

342 video lessons · 130774 viewers

Deke McClelland
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  1. 24m 57s
    1. 341 Integrating 3D art into a 2D scene in Photoshop
      13m 41s
    2. 342 Creating a 3D shark in Photoshop
      11m 16s
  2. 11h 26m
    1. 282 Ringing in the New Year with dynamic effects in Illustrator
      12m 59s
    2. 283 Dynamically transforming fills and strokes
      13m 41s
    3. 284 Tracing an avatar from a photograph in Photoshop
      12m 24s
    4. 285 Drawing a vector-based avatar in Illustrator
      19m 44s
    5. 286 Coloring and shading your avatar
      16m 0s
    6. 287 Exporting an illustration as a universally supported PNG file
      10m 54s
    7. 288 Upsampling a layered composition with great results
      13m 43s
    8. 289 Rebuilding a pattern at a higher resolution
      7m 29s
    9. 290 Painting happy little trees
      13m 46s
    10. 291 Shading and lighting the happy forest
      15m 15s
    11. 292 Enlarging a low-res photograph in Photoshop
      12m 20s
    12. 293 Enlarging a photo by tracing it in Illustrator
      13m 10s
    13. 294 Mastering Exposure in Camera Raw
      11m 40s
    14. 295 Super smooth and unflinchingly sharp
      10m 46s
    15. 296 Deleting an inadvertent photo bomber
      8m 13s
    16. 297 Correcting a distorted panorama
      17m 23s
    17. 298 Rebuilding bad stitching in a panorama
      14m 53s
    18. 299 Nondestructive dodge and burn
      8m 54s
    19. 300 Blending a shadow into any background
      8m 37s
    20. 301 Saving a PNG image with a translucent shadow
      8m 45s
    21. 302 Cleaning up a smart phone photo
      11m 17s
    22. 303 Using Photoshop 1.0
      5m 45s
    23. 304 Creating your own Chinese seal (or chop)
      26m 4s
    24. 305 Simulating hand lettering with art brushes
      20m 8s
    25. 306 Adding texture to your hand stamp
      3m 34s
    26. 307 Creating a black chop on red paper
      5m 55s
    27. 308 Auto-hiding iconic panels in Photoshop
      3m 44s
    28. 309 Creating a custom toolbox in Illustrator CC
      4m 21s
    29. 310 Creating the perfect passport photo
      20m 18s
    30. 311 Retouching your passport photo
      13m 38s
    31. 312 Turning a photo into a giant mural
      13m 11s
    32. 313 Enhancing the reality of your mural
      11m 8s
    33. 314 Creating a 3D bump map
      12m 7s
    34. 315 UV overlay and 3D bump paint
      14m 4s
    35. 316 Using Lens Flare for good (not evil)
      10m 48s
    36. 317 Using the Perspective Crop tool
      9m 29s
    37. 318 Reducing real-world camera shake
      10m 4s
    38. 319 Reducing glare in a photograph
      15m 25s
    39. 320 Restoring repeating details
      13m 43s
    40. 321 Integrating a detail captured with a phone
      9m 6s
    41. 322 Blending two exposures of a single scene
      12m 25s
    42. 323 Masking mountains away from sky
      14m 22s
    43. 324 Creating a photographic caricature in Photoshop
      10m 7s
    44. 325 Exaggerating facial features with Liquify
      12m 48s
    45. 326 Masking a caricature against a new background
      11m 20s
    46. 327 Shading and sharpening a caricature
      10m 6s
    47. 328 Drawing a Möbius strip in Illustrator
      12m 21s
    48. 329 Shading the Möbius strip with gradients
      9m 0s
    49. 330 Adding twisting edges to the Möbius strip
      8m 9s
    50. 331 Creating an impossible Penrose triangle
      10m 37s
    51. 332 Shading the cubes in your Penrose triangle
      8m 15s
    52. 333 Selectively converting a photo to black & white
      7m 53s
    53. 334 Straightening and “uncropping” a photo
      16m 17s
    54. 335 Restoring a missing photograph detail
      11m 26s
    55. 336 Drawing a hand (clenched in a fist)
      11m 44s
    56. 337 Cleaning up a sketch captured with a phone
      6m 17s
    57. 338 Four hands united in brotherhood, solidarity, and teamwork
      12m 24s
    58. 339 Swapping out colors in existing gradients in Illustrator
      4m 37s
    59. 340 Select > Focus Area and the pseudo engraving effect
      12m 26s
  3. 17h 21m
    1. 185 Creating a custom 2013 calendar in Illustrator
      11m 44s
    2. 186 Adding dates to a calendar using tables
      9m 50s
    3. 187 Branding your calendar with a field of logos
      10m 54s
    4. 188 Crafting an Infinity symbol to match a specific font
      12m 6s
    5. 189 Op art experiment 1a: Inflated checkers
      10m 49s
    6. 190 Op art experiment 1b: Rounded windows
      6m 39s
    7. 191 Building a universal ISOTYPE man with strokes
      15m 6s
    8. 192 Building a universal ISOTYPE woman with strokes
      11m 7s
    9. 193 Drawing an ISOTYPE couple in love
      12m 55s
    10. 194 Creating a Warhol-style silkscreen effect
      14m 43s
    11. 195 Creating a series of Warhol-style variations
      10m 43s
    12. 196 Adding Warhol-style background variations
      8m 20s
    13. 197 Creating opaque colored shadows
      5m 20s
    14. 198 Assembling multiple variations into a single comp
      5m 9s
    15. 199 Creating a pattern of unique inset circles
      9m 55s
    16. 200 Changing a static blended color scheme
      7m 16s
    17. 201 Op art experiment 2a: Undulating pattern
      20m 26s
    18. 202 Op art experiment 2b: Concentric rings
      9m 43s
    19. 203 Developing a dramatic castle in Camera Raw
      13m 21s
    20. 204 Artificially coloring a photo in Camera Raw
      9m 38s
    21. 205 Creating an antique photo effect in Camera Raw
      7m 53s
    22. 206 Adding a weathered old-photo frame effect
      12m 0s
    23. 207 Drawing an Angry Birds-like character
      16m 59s
    24. 208 Stroking an entire layer in Illustrator
      9m 21s
    25. 209 Drawing a classic snarling cartoon face
      11m 10s
    26. 210 Drawing a radiant, cheerful cartoon background
      18m 29s
    27. 211 Stroking any kind of type in Illustrator
      5m 0s
    28. 212 Creating synthetic water droplets
      9m 29s
    29. 213 Simulating liquid reflections with effect
      5m 19s
    30. 214 Simulating liquid refractions with a dmap
      5m 30s
    31. 215 Creating an eye-catching splatter effect
      9m 8s
    32. 216 Defringing purples and greens in Camera Raw 7
      10m 4s
    33. 217 Making a danger sign more dangerous
      15m 9s
    34. 218 Using texture and depth to add realism
      10m 22s
    35. 219 Precisely aligning artwork to the bleed
      7m 16s
    36. 220 Creating and importing a tracing template
      6m 50s
    37. 221 Drawing a distinctive 2D video game character
      18m 52s
    38. 222 Adding features to the face of a 2D character
      14m 3s
    39. 223 Creating a vivid aura around an entire character
      7m 25s
    40. 224 Adding variable-width strokes in Illustrator
      11m 23s
    41. 225 Animating bird wings with Puppet Warp
      12m 15s
    42. 226 Animating text by onion skinning in Photoshop
      8m 0s
    43. 227 Creating an animated movie in Photoshop
      9m 15s
    44. 228 Exporting an animation to QuickTime and GIF
      5m 44s
    45. 229 Correcting an underwater photograph
      10m 30s
    46. 230 Making a photo razor-sharp and porcelain-smooth
      7m 17s
    47. 231 Reducing noise in a high-ISO shot with Camera Raw
      8m 33s
    48. 232 Creating highly reflective sunglasses
      10m 43s
    49. 233 Adding drama to an outdoor portrait shot
      6m 35s
    50. 234 Creating volumetric forms with shape layers
      15m 52s
    51. 235 Creating a bloodshot eye effect
      7m 11s
    52. 236 Shading an image with shapes and layer masks
      13m 2s
    53. 237 Creating fabric textures with pattern layers
      7m 27s
    54. 238 Colorize any layer with Color Overlay
      3m 23s
    55. 239 Turning a portrait into a dot drawing
      7m 40s
    56. 240 Creating a full-color dot drawing
      3m 29s
    57. 241 Drawing an orthogonal cube with the line tool
      7m 9s
    58. 242 Creating a cube of differently colored cubes
      9m 27s
    59. 243 Recreating the Creative Cloud Logo in Illustrator
      16m 18s
    60. 244 Creating a psychedelic fabric texture
      9m 7s
    61. 245 Turning psychedelic fabric into rock letters
      5m 23s
    62. 246 Creating a more finely rendered dot drawing
      8m 29s
    63. 247 Converting from RGB to CMYK via Multichannel
      12m 31s
    64. 248 Creating printer-safe CMYK shadows
      6m 48s
    65. 249 Creating bright, golden motion trails
      12m 32s
    66. 250 Creating schematic art with grid
      12m 41s
    67. 251 Drawing precisely aligned arrowhead
      12m 8s
    68. 252 Adding arrowheads around a closed path
      6m 1s
    69. 253 Drawing the Pen tool without touching the Pen tool
      17m 13s
    70. 254 Merging frames for the best possible UAV photo
      16m 40s
    71. 255 Retouching details in an aerial landscape
      12m 13s
    72. 256 Editing a video and adding transitions in Photoshop
      10m 57s
    73. 257 Importing the quadcopter crash sequences
      9m 4s
    74. 258 Color correcting a video and adding a soundtrack
      8m 56s
    75. 259 Adding precisely timed titles to your video
      11m 43s
    76. 260 Hand-painting an image with a Wacom Cintiq
      13m 11s
    77. 261 Blending the final false-color artwork
      8m 41s
    78. 262 Creating a honeycomb pattern in Illustrator
      12m 50s
    79. 263 Building up strokes to create 3D honeycomb
      9m 8s
    80. 264 Turning yourself into a zombie
      14m 0s
    81. 265 Enhancing an ambience environment for the undead
      9m 26s
    82. 266 Creating dripping, gooey ghost letters
      16m 43s
    83. 267 Turning type into gooey green slime
      11m 19s
    84. 268 Creating heavy metal type (updated for Photoshop CS6 and CC)
      12m 27s
    85. 269 Cleaning up a crummy product shot
      11m 3s
    86. 270 Scaling and rotating photographic objects
      10m 10s
    87. 271 Tracing a line drawing with uniform strokes
      11m 18s
    88. 272 Coloring line art using Live Paint Bucket
      18m 22s
    89. 273 Creating a pigture using shapes and letters
      18m 7s
    90. 274 Integrating a cartoon into a photograph
      7m 27s
    91. 275 Converting a photo into a Lichtenstein drawing
      16m 8s
    92. 276 Adding bring Ben-Day dots and a talk balloon
      15m 31s
    93. 277 Painting an eye using a custom brush
      11m 31s
    94. 278 Painting and smoothing straight-sided brushstrokes
      12m 0s
    95. 279 Simulating pressure with path outlines
      6m 3s
    96. 280 Developing a 32-bit HDR image in Camera Raw
      14m 42s
    97. 281 Converting from 32-bit to the more flexible 8-bit mode
      11m 15s
  4. 14h 31m
    1. 091 Removing people from a photo
      10m 44s
    2. 092 Masking people back into a photo
      10m 58s
    3. 093 Hand-painting a mask
      10m 5s
    4. 094 Masking a real-life shadow
      10m 40s
    5. 095 Turning a photo into line art
      7m 44s
    6. 096 Adding a crosshatch shading pattern
      6m 46s
    7. 097 Creating type that inverts anything behind it
      5m 32s
    8. 098 Creating auto-inverting line art
      5m 7s
    9. 099 Creating movie poster credits
      8m 10s
    10. 100 Creating a dual-focus hybrid image
      6m 24s
    11. 101 Adding text to a hybrid composition
      7m 24s
    12. 102 Drawing with the reshape tool
      10m 39s
    13. 103 Hand-drawing a really great letter
      10m 6s
    14. 104 Creating a vanity frame
      5m 28s
    15. 105 Adding a frame to a photograph
      5m 3s
    16. 106 Drawing a highly graphic explosion with Illustrator
      10m 3s
    17. 107 Drawing a Ninja Turtle nose
      10m 22s
    18. 108 Mapping a dog face onto a duck
      8m 20s
    19. 109 Putting a tongue on a duck
      7m 6s
    20. 110 Making synthetic lightning in Photoshop
      11m 3s
    21. 111 Creating a driving rain effect in Photoshop
      4m 57s
    22. 112 Designing a railroad track
      12m 18s
    23. 113 Bending the railroad track around curves
      7m 46s
    24. 114 Creating a Star Wars hologram effect
      9m 23s
    25. 115 Creating leafy letters
      6m 12s
    26. 116 Creating topiary type
      6m 22s
    27. 117 Creating type in grass
      9m 0s
    28. 118 Rendering type in smoke
      7m 30s
    29. 119 Rendering type in brushed metal
      9m 57s
    30. 120 Adding brushed copper effect
      4m 14s
    31. 121 Reflecting type in water
      10m 57s
    32. 122 Reflecting water back into type
      11m 14s
    33. 123 Joining type to a circle
      7m 14s
    34. 124 Making flared type on a circle
      7m 17s
    35. 125 Making a person emerge from water
      5m 32s
    36. 126 Creating progressive water ripples
      10m 17s
    37. 127 Creating an upside-down face effect
      10m 17s
    38. 128 Achieving silky smooth skin with retouching
      6m 33s
    39. 129 Pearly white teeth
      7m 28s
    40. 130 Head-shrinking
      8m 26s
    41. 131 Getting a big head
      5m 11s
    42. 132 Adding a photographic texture to vector type
      4m 28s
    43. 133 Adding strokes in back of photo type
      5m 9s
    44. 134 Adding a border to an image in Illustrator
      4m 17s
    45. 135 Two ways to crop in Illustrator
      7m 29s
    46. 136 Inventing a 3D temple with a depth map
      10m 0s
    47. 137 Drawing a 3D object with Curves
      11m 41s
    48. 138 Creating a superhero shield in Illustrator
      16m 28s
    49. 139 Turning Illustrator paths into Photoshop shapes
      11m 42s
    50. 140 Creating a photorealistic superhero shield
      12m 39s
    51. 141 Pimping your ride in Photoshop
      9m 59s
    52. 142 Masking and blackening a car
      10m 20s
    53. 143 Drawing a multi-part vector mask
      12m 46s
    54. 144 Masking and painting a shadow
      8m 26s
    55. 145 Integrating blades of grass into tires
      5m 34s
    56. 146 Making a (ridiculously) dramatic sky
      6m 2s
    57. 147 Adding flame stripes to a car
      8m 23s
    58. 148 Creating interlocking octagons in Illustrator
      7m 44s
    59. 149 Hand-coloring line art
      13m 9s
    60. 150 Creating a custom wave pattern
      9m 56s
    61. 151 Simulating a screen print
      8m 30s
    62. 152 Drawing a perfect linear spiral in Illustrator
      9m 42s
    63. 153 Drawing a spiraling nautilus shell
      11m 4s
    64. 154 Designing a hex pattern in Illustrator CS6
      11m 10s
    65. 155 Making a hex pattern in Illustrator CS5 and earlier
      7m 4s
    66. 156 Creating a Facebook cover in Photoshop
      9m 25s
    67. 157 Matching a profile picture to your cover
      6m 37s
    68. 158 Cloning yourself in Photoshop
      11m 16s
    69. 159 Lighting the clone party
      8m 29s
    70. 160 Hand-carving letters into wood
      8m 0s
    71. 161 Creating a Spirograph-like pattern
      7m 34s
    72. 162 Tracing scalloped gear teeth around a circle
      4m 55s
    73. 163 Applying custom carve and shadow styles to type
      8m 50s
    74. 164 Turning a pencil sketch into digital ink
      12m 55s
    75. 165 Adding a graph-paper background
      13m 42s
    76. 166 Creating a continuous single-line Spirograph
      13m 2s
    77. 167 Scaling circles into complex patterns
      7m 15s
    78. 168 Creating a money-like design
      8m 43s
    79. 169 Attack of the killer pumpkin
      14m 49s
    80. 170 Simulating a glowing Jack-o-lantern
      12m 24s
    81. 171 The headless stranger in the mist
      12m 25s
    82. 172 Creating 3D punched letters
      13m 29s
    83. 173 Designing a double-wave line pattern
      11m 2s
    84. 174 Assembling a seamless pattern brush
      9m 53s
    85. 175 Creating a hand turkey in Photoshop
      18m 42s
    86. 176 Creating a depth-of-field cast shadow
      7m 29s
    87. 177 Creating a lustrous round jewel
      13m 56s
    88. 178 Cutting and brushing light on a gem
      8m 30s
    89. 179 Creating a shiny button with inset text
      11m 5s
    90. 180 Creating a jaunty six-sided star
      15m 1s
    91. 181 Interweaving star shapes and adding gradients
      8m 28s
    92. 182 Casting shadows between interwoven shapes
      9m 12s
    93. 183 Creating a Hobbit-like text effect
      15m 6s
    94. 184 Enhancing a landscape photo in Camera Raw 7
      9m 16s
  5. 13h 11m
    1. 001 Creating ice type
      8m 39s
    2. 002 Branding type on a texture
      7m 6s
    3. 003 Creating an image-branding machine
      7m 13s
    4. 004 Capturing effects with layer comps
      7m 35s
    5. 005 Rendering type in gold
      8m 9s
    6. 006 Creating a hammered metal background
      5m 48s
    7. 007 Creating heavy metal type
      8m 13s
    8. 008 Creating a molten letter effect
      6m 43s
    9. 009 Setting type on fire
      11m 20s
    10. 010 Using an anti-edge mask
      7m 20s
    11. 011 Blending textures onto a face
      9m 28s
    12. 012 Rendering a face as a cave painting
      7m 34s
    13. 013 Creating a reflection in shattered glass
      8m 32s
    14. 014 Creating a face in a tree
      11m 20s
    15. 015 Building a synthetic star field
      8m 21s
    16. 016 Making 3D type with Repoussé
      10m 14s
    17. 017 Casting 3D shadows and reflections
      9m 35s
    18. 018 Adjusting 3D light sources
      10m 51s
    19. 019 Masking highlights and shadows
      6m 27s
    20. 020 Masking glass
      10m 39s
    21. 021 High key high contrast
      8m 33s
    22. 022 Simulating sub-pixel rendering
      10m 58s
    23. 023 Fixing chromatic aberrations in Photoshop
      9m 41s
    24. 024 Fixing chromatic aberrations in Camera Raw
      8m 51s
    25. 025 Correcting red-eye like a pro
      11m 56s
    26. 026 Turning a photo into an ink drawing
      10m 42s
    27. 027 Turning a photo into a pencil sketch
      8m 43s
    28. 028 Creating a seamlessly repeating pattern
      10m 56s
    29. 029 Repairing seams in a repeating pattern
      10m 47s
    30. 030 Creating a 3D pie chart
      11m 9s
    31. 031 Splitting and modifying 3D meshes
      11m 52s
    32. 032 Using the Ground Plane Shadow Catcher
      6m 58s
    33. 033 Creating a talk show-style curtain
      7m 57s
    34. 034 Assembling a flawless panorama
      10m 5s
    35. 035 Removing people with image stacks
      11m 44s
    36. 036 Creative stacking with Maximum and Range
      11m 44s
    37. 037 Creating synthetic wood grain
      9m 23s
    38. 038 Making slats of uniquely textured wood
      10m 52s
    39. 039 Kerning within a single character
      10m 31s
    40. 040 Creating a raised bevel effect
      11m 49s
    41. 041 Putting wings on a horse
      10m 41s
    42. 042 Creating a classic heart in Illustrator
      7m 15s
    43. 043 Glossing up a heart in Photoshop
      8m 42s
    44. 044 Shooting and assembling a stereoscopic photo
      8m 15s
    45. 045 Extending 3D beyond the screen plane
      6m 13s
    46. 046 Adding stereo 3D text and shapes
      9m 9s
    47. 047 Tilting text and shapes toward the viewer
      8m 13s
    48. 048 Creating a shooting star in Illustrator
      6m 33s
    49. 049 Using blends to draw path outlines
      8m 8s
    50. 050 Inventing custom starbursts
      7m 33s
    51. 051 Making a fictional creature
      12m 5s
    52. 052 Transforming a creature into a monster
      6m 14s
    53. 053 Capturing a monster in motion
      11m 45s
    54. 054 Changing the color of a car
      7m 12s
    55. 055 Painting a colorful car black
      8m 16s
    56. 056 Coloring the stripes on a zebra
      10m 47s
    57. 057 Drawing trendy swirls in Illustrator
      10m 59s
    58. 058 Creating variable-width and brushed swirls
      10m 46s
    59. 059 Drawing trendy ornaments in Illustrator
      8m 49s
    60. 060 Designing a magically updating pattern
      8m 40s
    61. 061 Automatically collapsing a selection
      7m 43s
    62. 062 Adding a magnifying glass into a design
      7m 5s
    63. 063 Healing one eye onto another
      7m 15s
    64. 064 Creating a giant command key
      9m 15s
    65. 065 Drawing common symbols part 1
      6m 29s
    66. 066 Drawing common symbols part 2
      9m 26s
    67. 067 Filtering images with Camera Raw
      7m 52s
    68. 068 Creating a vivid HDR effect
      5m 29s
    69. 069 Creating an ambigram in Illustrator
      10m 45s
    70. 070 Making a two-word ambigram
      7m 47s
    71. 071 Drawing a Halloween scareflake
      10m 45s
    72. 072 Creating true clones in Illustrator
      11m 7s
    73. 073 Taking your scareflakes into Photoshop
      7m 20s
    74. 074 Making a faux HDR image in Lab
      8m 38s
    75. 075 Turning a guy into a zombie
      7m 3s
    76. 076 Miniaturizing the world in Photoshop
      6m 45s
    77. 077 Creating a synthetic rainbow
      8m 53s
    78. 078 Casting an artificial shadow from a layer
      7m 2s
    79. 079 Rendering a portrait in type
      8m 58s
    80. 080 Rendering a portrait in tile patterns
      7m 43s
    81. 081 Rotating a pattern layer in Photoshop
      4m 16s
    82. 082 Tracing an image with path outlines
      7m 50s
    83. 083 Turning path outlines into a vector mask
      6m 0s
    84. 084 Drawing rays of light in Photoshop
      5m 40s
    85. 085 Drawing concentric glow rings
      7m 24s
    86. 086 Designing an Indiana Jones-style logo
      8m 50s
    87. 087 Achieving mitered corners in Photoshop
      5m 43s
    88. 088 Masking with Blunt Instruments in Photoshop
      11m 8s
    89. 089 Creating a stained-glass ornament
      8m 26s
    90. 090 Designing a stained-glass window
      10m 23s

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