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This course is a collection of short Photoshop and Illustrator projects and creative effects that can be completed in ten minutes or less. The series is taught by computer graphics guru Deke McClelland, and presented in his signature step-by-step style. The intent is to reveal how various Photoshop and Illustrator features can be combined and leveraged in real-world examples so that they can be applied to creative projects right away.
Hey gang this is Deak McClellan. Welcome to Deak's Techniques. This week I'll show you how to integrate a piece of 3D art into a 2D scene in Photoshop, specifically we'll take this 3D model of a hammerhead shark from fellow Lynda.com author Ryan Kiddleston and set against a 2D Fotolia background and rather than leaving the shark looking like a rubber toy floating in a swimming pool. We'll give it an eye, and then we'll wrap the rays of light and the bubbles around it so that the shark looks natural and at home.
Here, let me show you exactly how it works. All right, here's that synthetic looking 3D shark, and here's the final integrated effect that we're going for, just so that you have a chance to see him on screen. We're going to start with this eye right here because it's the window into the shark's soul. So we'll go ahead and switch over to our start image and then I'll press control and spacebar, that's command and spacebar on the mac in order to get the zoom tool on the fly and then I'll just drag over to the right like so in order to zoom in and I'll press control plus or command plus on the mak to zoom just a little bit farther in so we can really see this eye, and you can see that we're working with a fairly low resolution image, it's generally the best way to start things out when you're creating 3D inside Photoshop.
In order to draw the eye, we're going to take advantage of the elliptical marquee tool, which you can select from the marquee tool fly out menu and then just go ahead and surround the eye, more or less like so and I'm using the spacebar in order to move that ellipse on the fly. Now, as you can see, it's an upright ellipse. We need to skew the shape a little bit, and you can do that by going up to the Select menu and choosing Transform selection, which allows you to modify the selection outline independently of the image, and then you want to drag this bottom handle right here that you see me dragging, although ineptly so far.
But you want to drag it, and as you drag it, you want to press and hold the control key or the command key on a fly so that you can slant the shape like so, and then go ahead and control or command drag this top handle as well, and I'm going to move this handle outward, I'm not pressing the control or command key this time, and I'm going to move this guy outward as well, because I want to scale the eye to make it bigger, and then I'll press the Enter key, or the Return key on a Mac, in order to accept that change. Now let's create a new layer by pressing Ctrl+Shift+n or Cmd+Shift+n on the Mac, and I will call this layer white, because it's the white of the eye, and I'll click okay, and now I'll go ahead and tap the d key just to ensure that I've got my default colors, including white as a background color, and then to fill the selection with white you press Ctrl+ backspace in here on the PC.
That's Cmd + delete on a MAC, and then you can click off the shape to deselect it. Now what I recommend you do is create a copy of this layer by pressing Control, Alt, J or Command option J on the Mac which lets you jump the layer and name it and I'm just going to call this guy I and I'll click Okay and we'll come back to it later. I'm going to turn off the I layer for now and go back to the white layer, and then what you want to do is double-click on an empty portion of this layer to bring up, the big old Layer Style dialog box, and the idea is I want to force through some of the darkest colors from the shark below, by dropping down to this underlying layer slider right there, and I'll drag the black slider triangle.
Over to 70 like so, you can see the value 70 over there. And what that's saying is anywhere where the underlying colors have a luminous level of 70 or darker, which is pretty darn dark by the way, they will force through, and you'll be able to see them through the white, but that creates a very harsh transition as you can see here. So, to soften things up, you want to press and hold the alt key or the option key on a mac and drag the right half of this black slider triangle over to 130, is what I'm looking for like that, and that way we have this soft transition like so, and that way we have a soft transition you see on screen.
All right now I just want to reduce the opacity value, up here at the top of the dialogue box I'm just going to it down to 30 percent like so, and then click okay. That takes care of the white of the eye and now we need to add the pupil, which I'm just calling eye because it's a big pupil, a big animal pupil after all, and then I'll click on the eye layer to make it active. Then you'll want to go up to the color panel, assuming that you see it in the top right corner of the screen, if you don't see it you can go to the color window and choose the color command. But assuming that you do, you want to bring up your fly out menu and you want to switch over to the hsb sliders, and the values that we're going to dial in are hue value of 190 degrees followed by both saturation and brightness values of 50%.
Like so, and that gives us this kind of deep shade of green, and then to fill this shape with that color, you want to make sure none of values are active, so if they are press the enter key, the return key on a Mac, to accept the values and then press shift-alt-backspace, or shift-alt-delete. On the mac in order to fill that ellipse like so. All right, now we want to transform it, make it a little smaller here. So go up to the edit menu and choose the free transform command, and I'm just going to drag this lower right handle like so.
To about this position right here, let's say, and then I'll press the Enter key or the Return key on a Mac, to accept that change, and I'm also pressing Ctrl along with the right arrow key to kind of nudge this guy a little bit over to the right like so. And I wanted to fill up into this portion of the eye, and so, I'm going to get my brush tool. And I'll right clicking inside the image window, notice that my hardness value is cranked up to 100%. That's what you want as well. The size is very low at eight pixels, which will allow me just to click right about there in order to fill in that little region right there, and now I want to mask this eye inside the white.
Right there, but I don't want to create a clipping group, because that would mess things up, so instead, I'll just go ahead and load this white layer as a selection outline by pressing the control key or the command key on a mac and clicking on this thumbnail, like so, and then with the eye layer still selected, so you can see we've got a selection outline right there, with the eye layer still selected, go ahead and drop down to the add layer mask icon, at the bottom of the layers panel and click on it and that will mask the eye like so. So it's just going to be a slight change, and now, you want to go ahead and change the blend mode for this layer to Multiply.
So, it's darkening up, and then, finally, I'm going to add a gradient overlay effect by clicking on the FX icon. Very important that you click on the FX icon and not the little black and white circle. Click on FX, and choose gradient overlay and I mention that, because I get mixed up sometimes, and now I'm going to drag this angle value around to negative 100 degrees is what I'm looking for and then you can change the blend mode to multiply in order to produce this dark effect right there, and then you can just go ahead and click ok.
In order to accept the effect which results in a pretty good looking eye, I think. All right now I'm going to go ahead and zoom out and I did that by pressing control zero, or command zero on a mac. Now we need to integrate the shark with the rest of the scene. So some of these bubbles are in front of the shark for example, as well as some of these light rays. That is coming through the water, so what you want to do is click on the background item here inside the layers panel to make it active. Drop down to the black and white circle at the bottom of the layers panel and choose the levels command, and that will bring up the properties panel, and all you want to do at this point is reduce this gamma value.
This middle value below the histogram to 0.7 by clicking inside of it, and pressing shift down arrow three times in a row and that'll go ahead and darken up that background. Now you can hide the properties panel if you like and, you know what, I'm going to go ahead and rename this levels layer deepen, like so. All right, now we need to make a copy of this background layer, so go ahead and click on it to make it active and then press control alt j, or command option j on the Mac to bring up the new layer dialogue box. Let's go go ahead and call this guy light, and click okay, and now you want to drag it to the top of the stack like so.
Go ahead and drop it into place there. All right, now here is where things get interesting, and you're going to have to make some objective decisions starting with. What portions of the light are we going to see through? So we need to make some areas of the light transparent by going over to this light layer. You want to double click on an empty portion of it to once again bring up the layer style dialogue box. Let's go ahead and change the blend mode to screen. So that we're using the light to brighten the background, which is of course the way light works, and then we want to use the: this layers slider this time around, and you want to go ahead and drag, if you're working along with me.
This black triangle up to 100. So that you're seeing a value of 100 up there. Or something very close to it, and you can see that that's dropping out. Portions of this layer. Any pixel on this layer that has a luminous level of 100 or darker, is now becoming invisible, and now of course we want to soften the transitions, so press the alt key or the options key on a mac and drag the right half of this black triangle all the way over to the right hand side. So, that you're this layer values are 100/255 followed by 255 by itself.
As long as you're seeing those values right there, you're good to go. At which point, you can go ahead and click ok. To accept that change and now we want to do some hand masking, and this is where you can just free form it, by dropping down to the Add Layer Mask icon at the bottom of the Layers panel. Go ahead and click on it. Make sure that Layer Mask thumbnail is selected, and then, let's go ahead and increase the size of the brush pretty significantly, by pressing the right bracket key a few times, and that's the square bracket key? The right one that's to the right of the p as in Paul key on an American keyboard.
Then, you want to make sure that your foreground color's black, so in my case it's white, which means I need to press the x key to make it black, then right click inside the image window to bring up this brushes panel and reduce the hardness value to zero percent and press the enter key, or the return key on a Mac to accept that change. The most specifically, the portion of the bubbles that we want to map out are along the face. We just want to make it appear as if he's emerging from these bubbles, and I'm going to zoom out a little bit. I want to get rid of this double bubble action that's up here.
In the top right and top left corners, and I'll go ahead and paint this area away a little bit. Paint this away as well. We just don't want too much brightness being cast upon the scene, because after all we've already got these bright lights in back of the shark. So, we're mostly interested. In keeping these bubbles and these lights in front of the shark. So now go ahead and zoom back in and I'll press the x key so that I can paint back in some bubbles. That's probably too much, but I do want to paint some in to the side of the creature, and in to it's fins, and it's tail and that kind of stuff, and then, what I propose we do is press the x key to switch the foregone color back to black.
And then press the five key to reduce the opacity value up here in the options bar to fifty percent. And then what you can do is just sort of click around in order to subdue the light ever so slightly. That's too much in my opinion, so I'll press control z, or command z on the Mac, to undo that change. And maybe just click down here, a little bit, maybe press the three key to reduce the opacity to 30%, it's really up to you how you decide to play this. And then I'll just go ahead and click a little bit more. And then I'll press the x key in order to make my foreground color white.
So that I'm painting in light and bubbles once again. And I'll paint in a few more places, like so. All right now I'm going to press the 5 key, to reinstate an opacity of value of 50%, up here in the Options bar. And I'll paint in some more light in this section here. And of course, it's going to be subtle because you're working with such a low opacity value. And I might add a little bit of brightness in this region. A little more brightness up above the shark. And so forth, and that looks pretty good to me. So, once you're done brushing, what I suggest you do is reinstate an value of 100% just by tapping the zero key, because otherwise this can really throw you, when you're using the brush tool later on.
Now I'll go ahead and press the m key to switch back to the rectangular marquee tool. Press the F key a couple of times to switch to the full screen mode. And just so that we have a moment to review what we've done, I'll go ahead and press the F12 key in order to restore the version of the image that we saw at the outset of this movie. So, here is that technically adept but synthetic version of the shark, and then, if I press Ctrl+Z or Cmd+Z on the Mac in order to undo the reversions. This is the version of the shark that we've integrated into the 2D scene, using a series of additional 2D layers here inside Photoshop.
Now you may well wonder how I created and lit and otherwise set this 3D shark in Photoshop in the first place, in which case I have good news for you. If you're a member of the lynda.com online training library. I have a follow up movie in which I show you how to do exactly that. If you're waiting for next weeks movie I'm going to show you how to create 3-D donuts, in Adobe Illustrator. Which is not only a heck of a lot of fun, but easy as well. Deke's Techniques, each and every week. Keep watching.
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