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Illustrator CS5 One-on-One: Mastery
Illustration by John Hersey

Toning down 3D art in Photoshop


From:

Illustrator CS5 One-on-One: Mastery

with Deke McClelland

Video: Toning down 3D art in Photoshop

All right, now that we've completed the 3D Apple inside of Illustrator, it's time to make it look a little more naturalistic inside a Photoshop, and that's an area in which Photoshop really excels. Now, I've done some work in advance inside a Photoshop, after all this is not a Photoshop course, but we will be assembling some of the effects together as well. So I'm going to go ahead and switchover to Photoshop. And as you can see, I have gone ahead and rasterized the Apple inside of this file called Apple in pixels.psd, and now its just the just a matter of going to the Bridge and right-clicking on that final 270 degrees Apple file, and then opening it in Photoshop.
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  1. 37m 22s
    1. Welcome
      45s
    2. Linking AI and EPS files to Illustrator
      6m 34s
    3. Installing the dekeKeys keyboard shortcuts
      7m 43s
    4. Remapping Mac OS shortcuts
      6m 56s
    5. Installing the Best Workflow color settings
      4m 56s
    6. The color settings explained
      7m 4s
    7. Preserve Numbers vs. embedded profiles
      3m 24s
  2. 1h 35m
    1. My favorite features in all of Illustrator
      1m 21s
    2. Introducing the Transform effect
      5m 30s
    3. Repeating the last effect you applied
      4m 52s
    4. Applying multiple passes of a single effect
      5m 21s
    5. The wonders of editing dynamic artwork
      7m 13s
    6. Applying effects inside effects
      5m 11s
    7. Assigning an effect to an entire layer
      5m 42s
    8. Building a complex bevel effect
      5m 44s
    9. Placing artwork as a Photoshop Smart Object
      4m 55s
    10. Editing that Smart Object in Illustrator
      4m 21s
    11. Rotating continuously overlapping objects
      5m 34s
    12. Adjusting a dynamic transformation origin
      6m 22s
    13. Vector vs. raster effects
      5m 46s
    14. Introducing the Scribble effect
      5m 23s
    15. Copying effects between layers
      4m 20s
    16. Introducing Graphic Styles
      6m 50s
    17. Controlling the Filter Gallery preview
      2m 28s
    18. Document Raster Effects Settings
      4m 31s
    19. Combining and saving styles
      4m 32s
  3. 1h 25m
    1. Airbrushing with points and handles
      1m 45s
    2. Introducing the gradient mesh
      6m 10s
    3. Working with the Mesh tool
      6m 12s
    4. Lifting colors from a tracing template
      5m 47s
    5. Finessing the colors of mesh points
      4m 17s
    6. Creating a mesh with the Mesh tool
      7m 19s
    7. Adding a gradient mesh to a circle
      4m 37s
    8. Adding a gradient mesh to a slender shape
      8m 7s
    9. Creating soft and sharp transitions
      6m 56s
    10. Converting a linear gradient to a mesh
      7m 29s
    11. Editing a linear gradient mesh
      5m 6s
    12. Converting a radial gradient to a mesh
      8m 19s
    13. Editing a radial gradient mesh
      8m 15s
    14. Creating credible cast shadows
      5m 32s
  4. 1h 15m
    1. The best of static and dynamic adjustments
      58s
    2. Adding wings to a horse in Photoshop
      6m 52s
    3. Introducing the Warp tool
      6m 29s
    4. Brush size, Detail, and Simplify
      8m 24s
    5. The Twirl, Pucker, and Bloat tools
      6m 13s
    6. The Scallop, Crystallize, and Wrinkle tools
      5m 55s
    7. Creating a mind-blowing custom starburst
      4m 29s
    8. Introducing Envelope Distort
      5m 21s
    9. Editing the contents of an envelope
      5m 20s
    10. Warping an envelope mesh
      5m 20s
    11. Liquifying the contents of an envelope
      7m 7s
    12. Creating and editing an envelope mesh
      7m 59s
    13. Blending an envelope into a background
      4m 35s
  5. 2h 1m
    1. Outlines along a path
      1m 13s
    2. Weaving a pattern throughout an illustration
      6m 24s
    3. Introducing the Brushes panel
      4m 21s
    4. Applying and editing a calligraphic brush
      8m 28s
    5. Applying and scaling art brushes
      6m 6s
    6. Applying and editing a scatter brush
      5m 29s
    7. Formatting and scaling brushed text
      5m 40s
    8. Editing the path outlines of an art brush
      6m 2s
    9. Replacing an existing art brush
      6m 46s
    10. Creating and refining an art brush
      8m 3s
    11. Tiling pattern vs. pattern brushes
      5m 12s
    12. Creating a pattern brush
      8m 20s
    13. Designing the perfect side pattern
      7m 1s
    14. Start, end, and corner tiles
      8m 58s
    15. Expanding and filling brush outlines
      6m 49s
    16. Text brushes vs. type on a path
      6m 55s
    17. Combining a text brush with the Width tool
      8m 43s
    18. Introducing the bristle brushes
      5m 43s
    19. Adjusting the hairs in a bristle brush
      5m 24s
  6. 1h 32m
    1. Charts can be beautiful
      1m 17s
    2. Adding a gradient mesh to a complex path
      8m 9s
    3. Importing and graphing data
      5m 22s
    4. Switching between the kinds of graphs
      6m 8s
    5. Changing the Graph Type settings
      8m 7s
    6. Correcting and editing data
      6m 51s
    7. Selecting and coloring graph elements
      6m 29s
    8. Making nuanced changes to a graph
      8m 6s
    9. The pitfalls of manual adjustments
      8m 45s
    10. Creating and applying graph designs
      6m 28s
    11. Making a basic pictograph
      6m 47s
    12. Assembling sliding graph designs
      8m 33s
    13. Making last-minute tweaks and edits
      5m 37s
    14. Composing and customizing a graph
      5m 44s
  7. 2h 6m
    1. Perspective is all about real life
      1m 44s
    2. Assembling an isometric projection
      8m 5s
    3. Introducing Illustrator's Perspective Grid
      6m 8s
    4. Drawing a basic perspective cube
      8m 1s
    5. One-point, two-point, and three-point perspective
      8m 25s
    6. Creating automatically scaling box labels
      4m 41s
    7. Setting up a Perspective Grid
      6m 45s
    8. Perspective Grid tips and tricks
      6m 39s
    9. Drawing and editing a perspective shape
      5m 20s
    10. Shifting between planes on the fly
      5m 24s
    11. Creating a freeform shape in perspective
      7m 8s
    12. Working with perspective symbols
      8m 57s
    13. Matching perspective with the Shear tool
      2m 50s
    14. Rendering an off-plane path in perspective
      5m 7s
    15. Replicating symbols in perspective
      8m 12s
    16. Mass-modifying perspective instances
      2m 56s
    17. Adding and editing perspective text
      5m 37s
    18. Duplicating perpendicular shapes
      7m 17s
    19. Adjusting multiple shapes on a single plane
      4m 48s
    20. Creating a perspective column
      9m 23s
    21. Duplicating a series of perspective paths
      3m 20s
  8. 1h 25m
    1. Just another dynamic effect
      1m 10s
    2. Introducing the 3D Revolve effect
      5m 1s
    3. The 3D Revolve settings
      7m 24s
    4. Fixing 3D rendering problems
      6m 32s
    5. Establishing symbols for 3D art
      6m 50s
    6. Mapping symbols onto 3D surfaces
      6m 14s
    7. Adjusting shading and light
      6m 25s
    8. Toning down 3D art in Photoshop
      5m 43s
    9. Adding a photographic texture
      7m 36s
    10. Converting from Illustrator paths to Photoshop masks
      4m 50s
    11. Making 3D droplets in Photoshop
      5m 58s
    12. Unifying textures with Smart Filters
      5m 48s
    13. Creating 3D type with Extrude & Bevel
      6m 44s
    14. Coloring and correcting extruded edges
      9m 15s
  9. 1h 3m
    1. Take action today, save effort tomorrow
      33s
    2. Introducing the Actions panel
      4m 16s
    3. Initiating a new action
      5m 33s
    4. Recording a practical action
      4m 56s
    5. Four ways to play an action
      4m 27s
    6. Streamlining by disabling dialog boxes
      5m 48s
    7. Editing an action set in a text editor
      7m 20s
    8. Inserting an unresponsive menu item
      6m 16s
    9. Match-processing a folder of files
      5m 42s
    10. Recording a transformation sequence
      6m 11s
    11. Editing and troubleshooting an action
      5m 6s
    12. Recording actions within actions
      7m 21s
  10. 1m 36s
    1. See Ya
      1m 36s

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Illustrator CS5 One-on-One: Mastery
13h 5m Advanced Jan 28, 2011

Viewers: in countries Watching now:

In Illustrator CS5 One-on-One: Mastery, the third and final part of the comprehensive Illustrator One-on-One series, author and industry expert Deke McClelland shows how to take advantage of the wide array of dynamic effects in Illustrator CS5. Deke explores Illustrator’s powerful Gradient Mesh feature, great for creating photorealistic airbrushing effects. He also covers graphic styles, the liquify tools, envelope-style distortions, the new Bristle Brushes, 3D text, and perspective drawing. Exercise files accompany the course.

Topics include:
  • Working with dynamic effects
  • Placing artwork as a Photoshop Smart Object
  • Creating and editing a Gradient Mesh
  • Distorting artwork with an Envelope Mesh
  • Using the Calligraphic, Art, and Scatter Brushes
  • Creating an intricate Pattern Brush
  • Importing and graphing data
  • Creating a complex pictograph
  • Drawing and editing a perspective shape
  • Working with the new Perspective Grid tool
  • Using the 3D Revolve effect
  • Creating 3D type with Extrude & Bevel
  • Recording and playing automated actions
Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

Toning down 3D art in Photoshop

All right, now that we've completed the 3D Apple inside of Illustrator, it's time to make it look a little more naturalistic inside a Photoshop, and that's an area in which Photoshop really excels. Now, I've done some work in advance inside a Photoshop, after all this is not a Photoshop course, but we will be assembling some of the effects together as well. So I'm going to go ahead and switchover to Photoshop. And as you can see, I have gone ahead and rasterized the Apple inside of this file called Apple in pixels.psd, and now its just the just a matter of going to the Bridge and right-clicking on that final 270 degrees Apple file, and then opening it in Photoshop.

And I opened it as a RGB file at 300 pixels per inch and then I also went ahead and expanded the canvas and I did that, incidentally, to give myself more room to work. I went up to the Image menu and chose the Canvas Size command and I expanded the size of the canvas ultimately to 3900 pixels wide by 330 pixels tall. And if you spend any time in my Photoshop courses, you know that I prefer to work in pixels as opposed to inches or points or picas or any of that stuff, because after all Photoshop is a pixel level program.

All right, I am going to go ahead and cancel out of there. And now I'll just turn on a few layers that, as I say, I've created in advance for you. Down here at the bottom of the layers panel I have got this Base Gradient and that's a special Gradient layer that you can create by going to this little black-white icon and choosing the Gradient command, that ensures that the Gradient is editable well into the future if you decide to change your mind about the direction or the colors or what have you. Then I went ahead and added this little bit of background wall and ultimately, that's just an area of black that I selected, and then I use the Motion Blur Filter in order to create a soft transition.

Next, I went ahead and painted in a few Shadows on independent layers. So, there is this layer called shadow out, which is a fairly large region of shadow down below the Apple. And you can see that the Opacity of this layer is set to 60%, so I painted in black, then I actually applied the Motion Blur Filter back and forth, and Motion Blur, in case you are curious: under the Filter menu, you go to Blur, and then you choose Motion Blur. And I have the Motion Blur Filter set to 0 degrees and a really big distance about 500 pixels and that way I was able to slide that shadow back and forth to get a more naturalistic look out of it.

And then I added an additional Shadow that's much smaller that appears directly underneath the Apple and it's also set to a lower opacity value, as you can see, 50%. I typically apply the Multiply Blend mode when I'm burning in Shadows, generally a good idea. All right, now I have this edge layer. And the idea behind this edge layers, is I wanted to add a little bit of shading on the inside of the right half of the Apple, so I'll go ahead and turn that on. And that was just a function of selecting a region with a Lasso tool of all things and then painting inside of that Lassoed area on an independent layer like usual.

Now there are a couple of changes I want to make to this layer, I think it looks pretty rotten right now, and so here's the idea. First of all I am going to zoom in, so that you can see that I was a little sloppy about sort of painting into the red portions of the Apple, into that skin, so down here at the bottom and up here at the top as well, I avoided the stem, which was a good thing. However, I can avoid the skin as well by double-clicking on this layer, so you double-click in an empty region of the layer over here on the right hand side of the layer name, and that brings up the layer Style dialog box.

Then you drop down to this underlying layer control, which allows you to force through pixels from underlying layers inside your composition, and I dragged his Black slider over to about 105, and you can see that that makes sure that this black area doesn't cover up the skin anymore. So in this case anything that has a Luminous Level of 105 or darker on the Background layers, which includes the apple skin, apparently, because I saw it disappear there, will be forced through. All right, now I'll go ahead and click OK to accept that effect.

And the next trick is to go ahead lower than Opacity value, and I went ahead and took it down to 30%. So we have just a little bit of shading on the inside of that right side. I'll turn it off and then back on, so that can see the difference. All right, the next thing I want to do is darken up the Apple. And this is one of the great things about using Illustrator and Photoshop in combination with each other, is you can get your colors roughed out inside of Illustrator or pretty near exactly where you want them to be, and then can just make some additional adjustments inside a Photoshop.

And I find often times that, I later regard my Illustrator colors as being a little too garish and I want to tone them down a little bit in Photoshop. So, in this case, I'll go and select the Apple layer to make it active, then I am going to press and hold the Alt or Option key and I'm going to click on this black-white icon and choose the Levels command, and this will allow me to darken this Apple. And I'm going to go ahead and call this layer deep, because I am making the colors a little deeper and I am going to turn on this Checkbox, Use Previous layer to create Clipping Mask. Now if you are not familiar with Photoshop, what this does is it limits this independent Adjustment layer to just the layer underneath, just that Apple layer, and not all the other layers as well.

So I'll go ahead and click OK. And now inside this Adjustments panel I am going to grab this Output Levels value and I'm going to reduce it to 215, so I am saying the brightest color inside of the Apple will be a luminous level of 215, which is pretty light gray, but it's a little darker than absolute white, and that just tones down the Apple, so it fits more comfortably in its new environment. All right, so that's good for now. In the next exercise I am going to show you how to map on some real-world Apple skin, from an actual photograph of an Apple.

Find answers to the most frequently asked questions about Illustrator CS5 One-on-One: Mastery.


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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Preferences/Adobe Illustrator CS5 Settings/en_US

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
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