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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.
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