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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.
In this movie, I'm going to show you how to create this 3D hammerhead shark inside Photoshop. Now, the thing to know about Photoshop is, it's not a 3D modeling program. So for example, you're not going to be able to create the wireframe for this so-called 3D mesh inside the program. And in fact I didn't create this wire frame at all, rather it was created by fellow lynda.com author, Ryan Kittleson. And you can learn about the programs in which he creates his models from z-brush to 3DS max, by checking out his courses in this very library.
But what you can do in Photoshop is import the model and then position your view of the scene. You can scale the model, you can light it and so forth, in order to create this final piece of artwork. So let's see what that looks like. I'll go and switch over to this starter file here, which features an image from the Fotolia Image Library. About which you can learn more and get special deals at fotolia.com/deke. Now, if you're working along with me and you have access to the sample files. Then you want to go up to the 3D menu and choose new 3D layer from file.
Then, find the file called Kittleson Hammerhead.obj and, click on the open button in order to import it. If you see this new dialogue box. Then I want you to change just the Y value to 500, in order to establish the proper size for this object. And then click OK. Next, if you're prompted to switch to the 3D workspace, I recommend you click on the Yes button in order to do exactly that. Because that'll give you access to the three panels that you need most when working in 3-D and Photoshop.
And that's the layers panel, the 3-D panel next door and the properties panel in the upper right corner. Next here inside the 3D panel, go ahead and click on Current View in order to select the camera, which is your view of the scene. And then make sure that the Move tool selected at the top of the toolbox. And you want to select this very first tool up here in the options bar, which is the rotate the 3D camera tool. So go ahead and grab that one. And then you can drag around inside of the image window in order to rotate your view of the scene.
And it seemed to me that we're best off seeing the hammerhead from below. Because he looks a lot more ominous than if we view him from above. In which case, he looks. Not the least bit scary at all. But if he's on top of us, that's a different matter. And that is how you frequently see photographs of hammerhead sharks. Next, to move closer to the scene, you want to select this tool right here, the slide tool. So it's the fourth tool in. And then just go ahead and drag down inside the image window in order to get closer to that shark.
Now, I just happen to know a few coordinates that are going to work well for this object. So up here in the properties panel, go ahead and click on this little coordinates icon right there, the one that looks like a three d cube. And then you'll see some numerical settings. We'll go ahead and start off with the position settings. So I'll click on this first x value and change it to negative 700. Then you'll want to tab your way to the y value. You may have to press the tab key a couple of times, and change it to negative 250. And then press the tab key, however many times it takes to get to the z value and change it to 1,100.
And then I'll go ahead and tab over to the x rotation option right here, and I'll change that value to negative 22 degrees. And then tab to the y value and change it to the negative 40%. And then just confirm that the z value is 0 degrees, as it should be, by default. And then press the Enter key, or the Return key on a Mac, in order to accept those changes. Alright, now we want to make a few slight modifications to the model, which is this item right here, OBG mesh.
And I'm just going to go ahead and double click on it, and call it shark, because it is the shark model. And then this thing right there is the material that's wrapped around the model. So I'm going to go ahead and rename it skin, like so. And then with this skin selected go up here to the properties panel, notice where defuse right here, that's the defuse texture, which is all the base color that's wrapped around the animal. What you want you to do is click on this little page icon. And choose remove texture, because we don't want the default texture wrapped around the shark.
And then click on the light grey swatch, next to the word diffuse, and go ahead and change the brightness value. Notice that both the hue and saturation values are 0 by default. Take that saturation value down to 70% right there, and then click ok. And now click in the darker gray swatch next to the word specular. Which represents the highlights, incidentally. And I'm going to go ahead and take this b value and raise it to 50%, like so. So, hue and saturation are both 0, brightness is now 50.
Then, click OK. Next you want to select the shark, the model itself, and then go back up tot he properties panel. You spent a lot of time wandering back and forth between these panels, and select that coordinates icon once again. And just confirm that the x and z values are both 0 in this first column, and the y value is 250. And that way you and I have the shark in exactly the same location. Alright, now we want to add a little bit of light. So go ahead an click on infinite light one.
By default you get one infinite light to a scene. And an infinite light is a light that is infinitely far away, like the sun. For example, so the idea is you can change its position in the sky, but you can't change its location because after all it's way out there. I'm going to go ahead and drag this guy up to right about there. And I'm also going to change its color. By clicking on this first icon, infinite light, in the upper left corner of the properties panel. Then I'll click on the color swatch, which is white by default, and I'll change the hue value to 220 degrees.
Take the saturation down to 33%, and I'll leave the brightness at 100%. And you may wonder why in the world I'm doing that, well I'm trying to match the color of the light that's coming in. Through the top of the water, so it's ultimately being infused with blue like so, then I'll click okay. And now I want to take the intensity value to 100 percent and I'm going to take the softest value which is the softest of the shadows. The interior shadows, that is the shadows that are being cast by, for example, the fins.
Onto the shark's own body. Now press the Enter key, or the Return key on the Mac, in order to accept that change. I want to add another light source that represents the light that's bouncing down and back up onto the shark's belly. And so i'll drop down to the bottom of the 3D panel, to this little light icon right there. Go ahead and click on it and choose new infinite light. And now you'll see, and I am called infinite light two. Go ahead and click on its color right there in the properties panel. And this time we're going to go with a more greenish color.
So I'll set the hue value to 190 degrees. I'll take the saturation value up to 50%, and again, a brightness value of 100% is fine. Then go ahead and click OK to accept that change. And we want to take the intensity value down. To 70% like so, you can leave the softness this time set to 0% and now I want to rotate this light so that it's coming straight up into the shark's belly. So this, by the way, represents the actual location of the light and this widget right here represents how it's hitting the scene.
All right, now at this point, you may want to get rid of the ground plane. That's this big grid that we're seeing here. And you can make it disappear by switching away from the Move tool. So if I click on the rectangular Marquee tool, for example, that grid goes away. Again, it's the ground plane. It's not really entering into our scene however. So I'm going to go ahead and click on the word environment at the top of the 3D panel. And then you want to reduce the opacity of the shadows. See these ground playing shadows right here? Go ahead and take the opacity value down to zero percent.
The reason being we're not seeing the ground plain. We're underneath it so we're not going to see the shadows get cast upon it. And we may be able to save a little rendering time if we reduce that opacity value. Then in order to dim down the scene, we need to get rid of the IBL, which is the image based light. And you do that by clicking on this little page icon and choosing remove texture, which gets rid of the default IBL. And then you want to turn off this check box. To dim things down just a little bit more. Alright, we have just one more modification to make to the 3D scene and that's depth of field.
And what this allows you to do is focus on specific areas of your 3D object, while leaving others out of focus. And in my case I want the animal's head to be in focus, but I want his trail to start trailing out of focus so he looks quite enormous. And to pull that off, go ahead and click on current view. Which is your camera than notice these depth of field options right here. You want to take the depth value up to 1.5 for this specific effect and then notice that the distance at which the shark is in focus is too far back.
It is back here at his fins. We need to move it farther forward, so I am going to reduce the distance value. To zero point three, like so, and then press the enter key or the return key on the Mac to accept that change. Now what you want to do is switch back over to the layers panel right there. And I'm going to drag this horizontal border up a little bit so I can see all my layers. And then I'm going to turn on all those layers that we created in the previous movie. The ones that integrated the 3D artwork into the 2D scene. And so i'll turn on the deepen layer, in order to darken up the background.
I'll turn on the white in the eye layers, to give the shark an eye. And everything should line up if you're been following my instructions. And finally i'll turn on that light layer, to add that light in front of the shark. And then finally, with that 3D layer selected, the Kittleson hammerhead layer right there. You want to go to this icon right there at the bottom of the Properties panel. Notice that it says Render. And click on it. And what that will do is ray trace the scene. And the idea behind ray tracing is that Photoshop is tracking how the light lands on the animal.
And how the shadows are formed, and so forth. And so once that ray trace completes, we're going to get a highly accurate version of our 3D artwork. Depending on the speed of your machine, this is going to take a little bit of time. In my case, it's going to take about nine or ten minutes. And by the way, it should say, if at any point, you want to cancel the ray trace,. And retain your progress, by the way, so it will remain as raytraced as its gotten so far, all you have to do is press the escape key.
So we're going to go ahead and cut to the final version of this artwork. And here's the final version of that hammerhead shark, created using the full power of 2D and 3D working together here inside Photoshop
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