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315 UV overlay and 3D bump paint

From: Deke's Techniques

Video: 315 UV overlay and 3D bump paint

In this movie, I'll show you how to What's happening as indicated by these triangles here these And this reminds me, I'm seeing the material that switch back to the image at hand, and now paint again.

315 UV overlay and 3D bump paint

In this movie, I'll show you how to edit an existing 3D bump map, here inside PhotoShop. First, with the help of a UV overlay, and I'll explain what that means shortly. And then, we'll try our hand at painting directly on the 3D object with the brush tool. So notice that we've got this riveted rocket face right here, thanks to our work in the previous movie. But we've gone a little bit too far with the effect. Notice that the rivets are visible up here in this white seam, and this seam ought to be nice and smooth.

So that's a problem. And then this porthole presumably has a window inside of it. And that window should not be pockmarked with rivets because that doesn't really make any sense. What we're looking for is this final effect here, where the seams are nice and smooth. And. The window is moved as well. All right, so I'll switch over to the image cell so far, and I'll double click on the thumbnail for the racket layer, here inside the layers panel. That'll switch me over to the three d panel, and then I'll drop down my list to inside of the body mesh to this guy right there, body excrusion material which is the material that's wrapped.

Around the body of the rocket. And now notice, four sliders down, you'll see the word bump. And what we want to do in the case of this image is to click on the little page icon to the right of 15% here. And you want to choose edit texture, in order to modify that bump map inside of a separate image window. Now notice up here in the properties panel, and you'll see the properties panel if you're working in the 3D work space, which is made available to you in the upper right corner of the screen. Make sure that you switch to that work place and then you'll see the properties panel.

And what you want to do is scroll down to the bottom of the panel. And I might actually give myself just a little more room. For that properties panel by dragging this horizontal bar between the panels down a little bit. Notice this guy right here, uv overlays. Okay so here's the idea. Just a little bit of theory. x y z, those are your 3D axis. So x indicates width. And y indicates height. And then z in Photoshop indicates depth. So in our case what we're doing is we're taking a 2D image, an image that has width and height and then we're wrapping it around a 3D image.

Well we can't call the width x, because that's already taken and we can't call the height y, because that's already taken as well. So instead we call the width u. And we call the height, v. So that's what's meant by uv overlays. It's the way in which the 2D image here is wrapped around 3D artwork. And what you want to do, just to get a sense of what's going on here. You want to turn on UV overlays. Turn on that check box. Now that's going to create this black grid which makes it very hard to see especially against this dark background.

So I recommend you change the color. And I'm going to click on this color swatch and I'm going to change it to bright red. What the heck. Just cause it's easy to do and it does stand out nicely. And then I'll click OK. And I'm also going to take the opacity value down to 20%, and that'll help us out quite a bit. Now what I want you to do is, check this out. I'm going to zoom in, and notice that we're seeing this world of triangles here. So this grid, this uv overlays grid right here. Is composed entirely of triangles and the point at which we're looking at, I just want you to imagine this with me.

What we're seeing in this region right here, I'll kind of select this area that I'm talking about with a rectangular marquee tool. We are seeing the top of the rocket here, the top of the cone. What's happening as indicated by these triangles here these are the polygons that are making up the 3D object. So the surface of the object imagine that so it's not really a circle or a semi circle it's actually made of a bunch of polygons and that's the way 3D inside Photoshop works as well. And so wherever we're seeing, you know, big triangles, that means that we have very little curvature going on.

So we're just starting the curvature of the dome. And then it's getting more, more, more curvy right here in the middle. Because we've got all these polygons, these triangles packed together. And so we're having a big curve right here at the top of the dome. And then it's easing off again. And so that's how you read a uv overlay. Now it's going to take you time to figure these out. And you do have to kind of wrap your mind around them for every single 3D object because it's always different. However in our case, it's pretty simple actually. Every time we see these massively compressed areas of red right here.

So there's one at this location, this location here. We've got one here, here, here, and here. And what those indicate are the seams. Those white seams around the rocket. I'll go and switch back to the rocket. It's not going to be rendered anymore, so we're seeing it in the 3D preview. But notice that we have these white seams and there's a lot of curvature going around these seams. So, we've got essentially semi circles of curvature around each one of these seems, even more around the bottom here, and that's why we have all these triangles packed into these areas and, as a result, when the triangles appear packed, notice if I zoom in beyond 100%, I'll still get clarity where the grid is concerned.

I can see a ton of triangles being wrapped around the bottom. This is the bottom, by the way. The bottom seam in the rocket. But when I zoom back out, by pressing control 0, for example, or command 0 on the Mac, then they all get packed together and they look like solidaries of red, in our case. I'm going to switch to the layers panel and I'm going to press control shift n, or command shift n on the Mac, to create a new layer. And I'm going to call this white seams. And what we're going to do is we're going to select these regions. So I'm going to select this area right here. And you don't have to get it exactly right.

Just kind of generally select it like so. All the way from the top to the bottom using the rectangular marquee tool. So, couldn't be easier. Press the D key to make sure your default colors are available here. That's black for the foreground, white for the background. We want white, so press ctrl+ backspace. Or command delete on a Mac in order to fill that area with white. Now, we can't see that as white, because the UV overlay's in the way. So if I turn that off, there's my white right there. All right, now I'll turn the overlays back on so I know that I need to move this selection to this location.

So I'm just dragging this selection. Not the selected pixels, just the selection, that is, the marching ants. And I'll press Control Backspace or Command Delete again to fill that area with white. These two areas about the same width and that's because they represent, even though there's two of em here, together they represent the white seam at the bottom, the very bottom of the rocket. These next guys represent the next seam up. I just happen to know this from working inside of this image, so there's a lot of trial and error that goes into this process. But I'll select this region.

Press control backspace or command delete on the Mac. Drag this selection over and pressing the shift key as I do just to constrain my drag to horizontal. Control back space command delete on the Mac, in order to fill that region. Bypass this because that's the top of the cone. It wants to be left alone. It still wants to have rivets in other words. We'll go ahead and move this guy to this location here. I think this should work out pretty well. Control backspace delete command on the Mac and one more time drag the selection over to this area right there. Control backspace del on the Mac to fill it with white.

Now you can turn off the uvo overlays and that way you can see your little white seem so now if you want to even better then you can alt click or option click on the eye in the front of white seems. And they become very visible. In my case against the checkerboard transparency background. Alright, I'm going to alt click, or option click, again in order to bring those layers back and now go up to the file menu and choose the save command or press control S or command S on the Mac to save your changes back into the larger 3D composition, and now to see how things have reconciled, Let's switch back to this image here and notice we no longer have bumps in that scene up top.

That was the most obvious one. Or down here in these lower scenes either and to just make sure that's the case. Go ahead and click on the render icon at the bottom of the properties panel. In order to retrace the scene or of course you can take advantage of the keyboard short cut. Control shift alt I or command shift option I on the Mac. I'm saying it slowly because I need to give Photoshop some time to catch up with the render. Anyway, we still got a problem with the window, what gives? Well, I'll press the Escape key in order to cancel that ray trace for now. And I will pick up the brush tool and, I'm going to right click inside the image windows so, we can see this pop up panel.

I've got the size set to 100 pixels. I've got the hardness set to 100% and now, what you want to do is go over to the properties panel and notice, it's already set by default to 3D Paint 'because Photoshop knows what you're up to and knows that you want to paint. On the surface of this object, but the things that you want to paint on what's known as the diffuse texture that's what defines the various colors of the material the purple dome and the grey sides here. And the yellow engine and of course the white seams as well, but that's not what we want to paint on we want to paint on the bump, so go ahead an choose bump right there.

And then we want to change the paint system from texture to projection. And that way, we're going to take into account this frame around the portal. Now, that frame is part of a separate 3D object. You could see it here in the 3D panel. We've got the body right there. But if you scroll down, the separate mesh called portal. And that is that frame, if you were turn off portal it would go away, as you can see right there and now were seeing the dark window, which is actually painted onto that diffuse texture.

That I was telling you about right there, again though, we're interested in bump. So I'll go ahead and set that back. I'll turn on the portal, this is very important you want it on. And then you want to begin painting inside the window. So start painting like this and notice that you're painting away, because you're painting with black by the way. Black should be your foreground color. You're painting away texture. As you work. And this reminds me, I'm seeing the material that you are trying to paint, has been turned off. Turn it back on, to paint. Well, that's kind of a lie, it's a little bit of a bug here. I'll just click okay, because actually.

Everything's right rearing to go. We did obviously paint on the object so we were successful, but we painted on the wrong layer. So I'm going to press control z, or command z on the Mac, in order to undo that change. I'll switch back to the bump map and I'm going to return to the Layers panel and create a new layer. I don't want to paint on the white seams layer because I don't want to hurt it. I'll press control shift N, or command shift oN on the Mac, to. To bring up the new layer dialog box, and I'll call this new layer Rough Paint, because it'll represent the paint that we're about to apply, and I'll click OK. So, it's a nice, empty layer, just ready and waiting for us. Go up to the File Menu, choose the Save command, switch back to the image at hand, and now paint again.

Just go ahead and paint all over, willy nilly. Around that porthole window, and you don't need to do a good job. You want to paint too much, you want to go too far like were doing right here and your going to get this error message, very possibly again, just click OK, there's nothing to do about it, but rest assured everything is fine. Go ahead and switch over to the bumpmap and check it out, this is some pretty rough painting that Photoshop has done for me. But notice one of the things that we can see right here is this bottom lip of the porthole frame, so the porthole frame has left a kind of negative image of itself.

So we have a kind of blast pattern going on right here, and we can take advantage of it now. So we can do a much better job inside of the bump mouth by creating yet another layer. I'll press control-shift-N or command-shift-N on the Mac and I'll call this guy porthole and I'll click OK. And now I'll switch over from the rectangular marque tool to the elliptical marque, and I'll drag inside of that negative image, of the port hole, like so. So notice that I've got a lot of wiggle room right here, not as much as I think I did.

I kind of drew that badly, lets give myself a little more wiggle room. Right there and I'm using the spacebar of course, as needed. In order to move that selection on the fly. And once I get a big marching ant that goes all the way through, you know, more or less the center of that frame then I'll press Alt+Backspace or Opt+Delete to fill it with the foreground color, black. And now let's go ahead and drag this guy down to here so I'm just dragging this selection not the selected pixels. So I'm not dragging the black along with me.

And I'll move this guy down so it's in the right location. Somewhere around here looks pretty good, and I'll press alt backspace, option delete on a Mac to fill it. Now press control 0 or control 0 on a Mac to make sure that I've done everything I need to. This looks good. I'll click off the selection to deselect it, and I'll turn off. Rough paint. Because we no longer need it. And now you can go ahead and close your bump map. By clicking on the little x right there. And I'll click the Yes button right here on the PC. That would be the save button on the Mac. And look, we have a nice, smooth window.

And everything around the window is nice and bumpy. I will press keyboard shortcut control shift alt R or command shift option R on the Mac in order to render the scene and by render that means it is ray tracing and this just the standard definition of ray tracing by the way. It's firing lights so it's calculating light patterns. And it's figuring out how the light particles are falling all over the 3D artwork. Now it takes several minutes to run a ray trace.

In our case it looks like it's going to take about 12 minutes. It's a pretty computationally intense process. And because we are done with this project, what you can do is just you know, get up walk way, go get yourself a cup of coffee. I don't know. Whatever it is that you do to waste a little bit of time. And in the end we have a finished piece of 3D art work. And that, friends, is how you go about modifying an existing 3D bump map with the help of the UV overlay, or by painting directly on the 3D object with the brush tool.

Show transcript

This video is part of

Image for Deke's Techniques
Deke's Techniques

370 video lessons · 138320 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 14m 25s
    1. 369 Setting type on fire with the Flame Generator NEW
      8m 13s
    2. 370 Blending synthetic flames with type NEW
      6m 12s
  2. 17h 16m
    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
    60. 341 Integrating 3D art into a 2D scene in Photoshop
      13m 41s
    61. 342 Creating a 3D shark in Photoshop
      11m 16s
    62. 343 Creating a 3D doughnut in Illustrator
      15m 23s
    63. 344 Creating a golden 3D ring in Illustrator
      10m 21s
    64. 345 Mapping Elven runes (or text) onto a 3D ring
      15m 57s
    65. 346 Hand-drawing custom-made letters in Illustrator
      19m 33s
    66. 347 Drawing letters with curves and holes
      15m 56s
    67. 348 Enhancing your hand-drawn text in Photoshop
      7m 20s
    68. 349 Mixing a low-color photo with Camera Raw
      11m 2s
    69. 350 Mixing a low-color photo with adjustment layers
      10m 7s
    70. 351 Saving your effect as a color lookup table
      5m 31s
    71. 352 Extracting a classic painting from its frame
      11m 35s
    72. 353 Extracting that same painting nondestructively
      7m 59s
    73. 354 Archiving and enhancing a child’s art
      10m 47s
    74. 355 Combining a child’s art with a real classic
      11m 5s
    75. 356 Developing the perfect sunset in Camera Raw
      9m 55s
    76. 357 Lush landscapes: The real green is yellow
      9m 7s
    77. 358 Painting away Camera Raw “Clarity halos”
      17m 7s
    78. 359 Selectively sharpening a stressed photograph
      16m 12s
    79. 360 Transforming yourself into a Dark Elf
      16m 27s
    80. 361 Hand-masking the elf against a vivid background
      15m 35s
    81. 362 Making the Dark Elf that much darker
      15m 29s
    82. 363 Developing a photograph of The Joker
      16m 26s
    83. 364 Carving expression lines into The Joker’s face
      14m 1s
    84. 365 Creating a campaign poster in Illustrator
      15m 3s
    85. 366 Creating a Prohibition (or Universal No) symbol
      7m 13s
    86. 367 Using Photoshop CC’s new Flame Generator
      10m 4s
    87. 368 Creating cool Flame Generator art
      9m 35s
  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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