IntroductionWelcome| 00:04 | Hi I am Deke McClelland. Hello, and
welcome to Photoshop CS5 Extended
| | 00:09 | One-on-One 3D Type Effects; the final
installment in my four-part series on 3D and Photoshop.
| | 00:17 | In this course, I'll share with you a
variety of recipes for creating 3D-type
| | 00:22 | effects in Photoshop extended.
| | 00:24 | We start with this standard text layer
inside of Photoshop, and then we extrude
| | 00:27 | and slant the type in 3D space.
| | 00:30 | I go ahead and add what's known as a
diffused texture to create these trails
| | 00:34 | of blood, and then I add some bevels and
some lights in order to get this effect here.
| | 00:39 | Now, it wouldn't be Photoshop if you
can merge the 3D along with a 2D
| | 00:43 | photograph, and then we go ahead and
develop this image in none other than
| | 00:47 | Camera Raw. Next, add the movie poster text.
| | 00:51 | Next comes a Hand Drawn effect.
| | 00:53 | I go ahead and take these letters,
rotate them in 3D space, add those wiggly, faux
| | 00:58 | hand-drawn lines. Then, why not just
make this text sing? Why not go for
| | 01:03 | something quite the opposite?
| | 01:06 | Wouldn't it be great if you could
extract masks of every single surface inside
| | 01:12 | of a 3D graphic? Well it turns out you
can, which allows me to brighten up those
| | 01:17 | letters, and then finally add some smoke.
| | 01:20 | Now, no 3D type course would be
complete without grunge type.
| | 01:24 | I go ahead and dress up the letters,
add a few 2D elements in order to finish
| | 01:28 | off the scene, and then finally,
develop the image inside Camera Raw.
| | 01:33 | What's the opposite of grunge type?
| | 01:34 | Something soft and squishy. I go ahead
and turn these letters into pillow
| | 01:39 | inflations, and then wrap them
up; add some shadows as well.
| | 01:43 | Math certainly does rock, but it rocks
even harder when it's expressed as a depth map.
| | 01:48 | I go ahead and set that text down, light it,
project some shadows, integrate it with
| | 01:52 | the photographic texture.
| | 01:54 | Wouldn't it be great if we could trace
each and every block with an outline, and
| | 01:58 | come up with this here?
| | 02:00 | Finally, we've got this tree.
| | 02:01 | Doesn't it just make you want to carve a
heart that was created inside Adobe Illustrator?
| | 02:06 | It's projected outward, but ultimately
we get this effect here. And of course,
| | 02:10 | since we're using Photoshop, we can
repeat this carving over and over again.
| | 02:15 | And that's it my friends. We've got
seven different type effects brought to you
| | 02:21 | by Photoshop Extended, and lynda.com.
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1. Murder-Mystery TypeMaking thriller/chiller type| 00:00 | We're going to start things off
with a relatively basic 3D type effect.
| | 00:04 | This one I'm calling thriller chiller
type, and it's basically a suspense effect:
| | 00:09 | the kind of thing that might appear
on the cover of a mystery novel, for
| | 00:13 | example, or if you wanted to simulate
an old movie poster, and it's exemplified
| | 00:18 | by very harsh lighting.
| | 00:20 | Notice we have these slight rounded
bevels inside the letters. That helps us
| | 00:23 | catch the highlights so that
the letters end up looking wet.
| | 00:27 | The letters also lean backward, and they
are inclined into the ground plane. And
| | 00:31 | finally, we have these big dramatic shadows.
| | 00:34 | We'll start things off inside this
file called Base letters.psd. It's found
| | 00:38 | inside the 01_thriller folder.
| | 00:41 | Make sure that the type layer is
active, here inside the Layers panel.
| | 00:44 | As you may recall, you extrude type in
Photoshop using the Repousse feature, and
| | 00:48 | Repousse renders text so
it can no longer be edited.
| | 00:51 | So the best practice is to start
things off by pressing Control+J, or Command+J
| | 00:56 | on the Mac, to create a copy of that
original text, so that the editable text
| | 01:00 | layer is protected.
| | 01:02 | Then turn off the original text.
| | 01:03 | Make sure the new text layer is selected
and visible, then go up to the 3D menu,
| | 01:08 | choose Repousse, and choose Text layer.
| | 01:10 | Photoshop may give you a warning
telling you that you'll no longer be able to
| | 01:13 | edit that text. Click Yes,
because really that's your only option.
| | 01:17 | A moment or two later, Photoshop
will display the Repousse dialog box.
| | 01:21 | Now, because the Type is black, it's
very hard to see what's going on here.
| | 01:24 | So go up to the Materials options in
the upper right corner of the dialog box,
| | 01:28 | click on the All icon, and select the
first sphere in the third row: no texture,
| | 01:33 | and that will give you this
white text with the shaded sides.
| | 01:36 | Next go ahead and change the depth value to 0.1
| | 01:39 | Now, we will be making a few other
modifications inside this dialog box, but we
| | 01:44 | really can't see what's going on
until we position the text, and apply a few
| | 01:48 | materials, so go ahead and click OK
in order to create that extruded type.
| | 01:52 | Next I want you to switch to the Camera
Rotate tool located near the bottom of
| | 01:56 | the toolbox, and we're go ahead and
rotate this text in space a little bit, but
| | 02:01 | first we need to be able
to see the ground plane.
| | 02:04 | You may recall that we can cast a
shadow onto the ground plane, but first we
| | 02:08 | need to know where it is.
| | 02:09 | So go up to the View menu, choose Show, and
then choose 3D Ground Plane to make it visible.
| | 02:14 | Now you should see your letters
sitting directly on top of the ground
| | 02:17 | plane, which is great.
| | 02:18 | However, we don't have much
in the way of a dramatic angle.
| | 02:21 | So let's go ahead and drag inside of the
image window, like so, in order to rotate
| | 02:27 | our view around a little bit.
| | 02:28 | Now, I came out with some specific values.
| | 02:30 | Assuming that you can see the
Orientation values up here in the Options bar, go
| | 02:34 | ahead and change the X value to 250,
then tab to the Y value and change it to
| | 02:39 | 357. Then I want you to tab to
the Z value, and change it to -137.
| | 02:45 | That takes care of the orientation
options. We need to position our view a
| | 02:49 | little bit, however, so go ahead and
switch to the third tool over; the Pan the 3D
| | 02:53 | Camera tool, here inside the Options bar.
| | 02:56 | And then I want you to change
to Position values, like so:
| | 02:59 | first change the X value to -200, then
change the Y value to -700, and finally,
| | 03:04 | change the Z value to -50.
| | 03:07 | Now we have what amounts to a dramatic
camera angle. Let's now position the text
| | 03:11 | inside the larger 3D environment by
switching to the next tool up, here in the
| | 03:15 | toolbox, which by default
is the Object Rotate tool.
| | 03:19 | Now, by default, your Orientation
values X, Y, and Z here in the Options bar
| | 03:23 | should all be set to zero.
| | 03:24 | I want you to change just one of them,
the X value, to 15 degress, and that's going to go
| | 03:29 | ahead and lean that text backward.
| | 03:31 | Next, switch to the Drag the 3D Object
tool, again inside the Options bar, and
| | 03:36 | let's modify the Position values slightly.
| | 03:38 | I am going to change the X value to 700,
change the Y value to 230, so you can
| | 03:43 | see these are very slight
modifications, and for now, you can go ahead and
| | 03:46 | leave the Z value alone.
| | 03:48 | What that means is that the text is sort
of hovering above the Ground Plane, but
| | 03:53 | notice, also, that we have bad bevels
going on. In other words, the bevels are
| | 03:57 | going straight down from the letters,
where they should be cutting along the
| | 04:01 | ground plane, which would be more
consistent with the slant of the letters.
| | 04:05 | Fortunately, we can go ahead and
change the angle of that extrusion by
| | 04:08 | revisiting the Repousse dialog box,
as I'll show you in the next exercise.
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| Creating a slanted incline| 00:00 | I've saved my progress as Inclined type.
psd, found inside the 01_thriller folder.
| | 00:05 | Now, one of the problems when you are
working in 3D, especially if you come from
| | 00:08 | a 2D Photoshop background, is it
sometimes seems as if you don't have quite the
| | 00:14 | number of transformation
options available to you.
| | 00:17 | For example, this type is rotated backward.
| | 00:20 | However, it's extruded downward as
well, and what we're really looking for is
| | 00:25 | this kind of slant, where the letters
actually incline backward, and you don't
| | 00:30 | really have a slant tool in the world of 3D.
| | 00:33 | So here I have the Object tool selected,
by the way, and I currently have this
| | 00:37 | Drag tool selected up here in the
Options bar, so I can see my Position values.
| | 00:41 | So in other words, you have
geographical positioning options.
| | 00:44 | So you have coordinate control over the
movement of objects, and then of course,
| | 00:48 | if you switch to the Rotate tool,
you've got your Orientation options, which
| | 00:51 | control 3D rotation. And then finally,
if you switch to the Scale tool, you see
| | 00:56 | that you have your Scale options.
| | 00:58 | So you've got Position, you've
got Rotation, and you've got Scale.
| | 01:02 | Where the heck is slant? What's going on?
| | 01:04 | Well, let me show you what's up here.
| | 01:06 | You do actually have
control over all of those options;
| | 01:09 | you just need to know where to look.
| | 01:10 | So I am going to switch back to my
Rotate tool, once again up here in the
| | 01:13 | Options bar, and notice
those Orientation values.
| | 01:16 | The only one that's not zero is
the X value, which is set to 15.
| | 01:19 | So if I set it to 0, and then press the
Enter key, or the Return key on the Mac,
| | 01:23 | then I'd make my characters upright.
| | 01:25 | However, I've got that set to 15. And the
reason I am dwelling on this is because
| | 01:30 | this is how you create a slant in 3D.
| | 01:32 | So you start off by rotating your
letters, either X, Y, or Z; up to you. Then you
| | 01:37 | want to pay attention to what
that value is; 15 in this case.
| | 01:41 | Then make sure that the 3D object
is selected inside the Layers panel.
| | 01:44 | Go up to the 3D menu, choose Repousse,
and choose Edit in Repousse.
| | 01:49 | Now, of course, here we are back
inside the Repousse dialog box.
| | 01:52 | Go ahead and select Shear from your
Extrude options, and change the Y value in
| | 01:57 | this case to 15 degrees. And then press the
Tab key, and you see that now you've gone
| | 02:02 | ahead and slanted the angle of
extrusion, so it's consistent with the angle of
| | 02:06 | the letters, and as a result, you've
created a 3D incline. And then go ahead and
| | 02:10 | click OK to accept the results.
| | 02:12 | Now, the final step is to go ahead and
set these layers down on the ground plane,
| | 02:17 | and you do that by
switching back to the Drag tool.
| | 02:20 | Note the Z value; it's currently -424.7.
| | 02:21 | I am calling attention to that,
because it's about to change.
| | 02:26 | Go up to the 3D menu, choose Snap
Object To Ground Plane, and that will go ahead
| | 02:30 | and set those letters down automatically.
Photoshop does the work for you. Only
| | 02:34 | the Z value will change, in our case to
-490.6, and now every single bit of our
| | 02:40 | letters, both the face of the word
MURDER, and the inclined extrusion are nailed
| | 02:45 | exactly to that ground plane so that
we'll cast an accurate shadow. And that's
| | 02:49 | how you create inclined type
in 3D here inside Photoshop.
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| Smearing colors across letters| 00:00 | In this exercise, I am going to
show you how to dress up the letters by
| | 00:03 | designing a material.
| | 00:04 | Now, notice the words increase in drama,
starting with mystery, then we have
| | 00:08 | mayhem, and finally murder.
| | 00:10 | So each word has its own look,
and yet, I'm achieving effect with a
| | 00:14 | single diffused texture, and that
is this file right there, which is
| | 00:18 | called Red smear.psd.
| | 00:20 | I want you to have a sense
of how it was put together.
| | 00:23 | If I turn off the smear layer, you can
see that the background is filled with a
| | 00:26 | constant pale yellow.
| | 00:28 | Then I've got the smear layer in front
of it, that I created using a gradient,
| | 00:31 | combined with a posterized command, and
an awful lot of hand tweaking. And I was
| | 00:36 | able to maintain a sense of how my
modifications would affect the letters, using
| | 00:40 | this text layer right there.
| | 00:41 | So this is my original text, only
stretched to fit a square image.
| | 00:45 | So you can see that mystery will be mostly
pale yellow, with just a few streaks in it.
| | 00:49 | Mayhem has all kinds of streaks going on,
and then murder is pretty much solid red.
| | 00:55 | Now, obviously I went ahead and turned
off that text layer before I saved the
| | 00:58 | final version of the file.
| | 01:00 | Now let's apply that file as a material.
| | 01:02 | I'll switch over to my composition
in progress, which is called Skewed
| | 01:05 | extrusion.psd, found inside the 01_thriller file,
| | 01:09 | just so I can see the ground plane. I am
going to go ahead and switch to one of
| | 01:12 | the 3D tools, and now I'll double-
click on the thumbnail for the 3D layer to
| | 01:16 | bring up the 3D panel.
| | 01:17 | Now, as you may recall from my previous
courses, Repousse results in a single mesh,
| | 01:22 | as you can see right there, that
contains a total of five materials.
| | 01:26 | Now, to see what those materials are, I
am going to have to expand the width of
| | 01:29 | my panel, and notice that they're
always arranged in the exact same order.
| | 01:33 | So we start things off with the front
inflation material, which is the front of the letters.
| | 01:37 | Then we have a front bevel. In our case, the
letters don't have a bevel yet, but they will.
| | 01:41 | Then we have the extruded sides, then
the back bevel, and the back inflation.
| | 01:45 | Now, we are not going to be seeing much
of the back bevel and back inflation as
| | 01:49 | we work through our type effects.
| | 01:50 | However, they are there if you want to
access them. But in the case of this file,
| | 01:55 | we do need to adjust the first three materials.
| | 01:57 | I am going to rename them, so we
can keep track of what's going on.
| | 02:00 | So I'll just call the first one front
material, like so. And then I'll call the
| | 02:04 | second one front bevel. And then I'll
call the third one, let's say, extruded
| | 02:09 | sides. And then I'll go ahead and, once
again, reduce with width of my panel, so I
| | 02:13 | can keep an eye on what's going on onscreen.
| | 02:15 | You know what? I am going to go ahead
and press the F key in order to switch to
| | 02:18 | the full screen mode, and pan my text
over a little bit, so it's not being
| | 02:22 | covered by the panel.
| | 02:23 | All right; let's start
things off with the front material.
| | 02:26 | We'll go and click on it, and then
I'll drop down to this folder icon,
| | 02:29 | to the right of the word Diffuse.
Click on it, and choose Load Texture.
| | 02:33 | Then, if you're working along with me,
navigate to the 01_thriller folder, and
| | 02:37 | you'll find that file called Red smear.
psd. Go ahead and click on it, and open it
| | 02:41 | up, and that'll apply that
material to the front of the letters.
| | 02:45 | Now, I want these letters to shine, as
if they're wet, and so I am going to
| | 02:48 | increase the Gloss value you to 100%.
I'll also increase the Shine value to 90%,
| | 02:54 | that way we we'll have very
isolated, shiny highlights.
| | 02:58 | Now, the brightness of those
highlights is determined by the Specular value.
| | 03:01 | Go ahead and click on that Specular swatch, and
crank the brightness value up to 100%; click OK.
| | 03:06 | I want a little less ambience, so I'll
click on the Ambience swatch, and I'll
| | 03:11 | take the brightness value down
to 65%, and then click OK as well.
| | 03:15 | Now let's go ahead and save our work
as a material by clicking this down
| | 03:19 | arrow, next to the sphere.
| | 03:21 | Then go over to the red pointing arrow
head, click on it, choose New material, and
| | 03:25 | we'll go ahead and call this guy red
smear, and then click OK, and you'll see a
| | 03:29 | new material down here
at the bottom of the list.
| | 03:32 | Now press the Enter key, or the Return key on
the Mac, in order to hide that pop-up panel.
| | 03:36 | Then click on Front bevel, here in the
materials list. Click on the sphere, in
| | 03:40 | order to once again bring
up the list of materials.
| | 03:42 | Click on red smear, the one you just
created, and press the Enter key, or the
| | 03:45 | Return key on the Mac.
| | 03:46 | We need to do this one more
time for the extruded sides.
| | 03:49 | So go ahead and click on that material,
click on the sphere, select that last
| | 03:53 | material you just created, and press the
Enter key, or the Return key on the Mac.
| | 03:57 | Now we've got a problem.
| | 03:59 | Notice the direction in which
that diffused texture is mapped onto
| | 04:03 | those extruded sides.
| | 04:04 | Now, we could try to modify that
diffused texture if we wanted to.
| | 04:07 | However, what's going to happen if we
send it a different direction, for example?
| | 04:10 | Instead of is of having the smear go up
and down, we have it go side to side, then
| | 04:14 | we are going to wrap the extrusion
around each and every letter independently,
| | 04:19 | and that's not going to give us the
effect we want either. Especially if what we
| | 04:22 | are really looking for is red down
here at the bottom, and then some smearing
| | 04:26 | inside the word mayhem, and then
essentially pale yellow in the word mystery.
| | 04:29 | It's just not something we're going
to achieve, unless we bust these words up
| | 04:34 | into separate meshes.
| | 04:35 | So what I decided to do instead was
just make the extruded sides solid red by
| | 04:40 | going back to the Diffuse option here,
click on that little page icon, and choose
| | 04:44 | remove texture in order to get rid of it.
| | 04:47 | And then click on the Diffuse
swatch to bring up the color picker.
| | 04:50 | Dial in the Hue value 10 degrees, a
Saturation value of 100%, and finally a Brightness
| | 04:56 | of 50%, which is the same shade of
red that I applied to the word murder.
| | 05:00 | All right, go ahead and click OK
in order to accept that effect.
| | 05:03 | All right, so that takes care of the materials.
| | 05:06 | Now, so far, things don't look that
great. It's a pretty drab effect, all
| | 05:10 | things considered, and we're not
getting much in the way of specular
| | 05:14 | highlights. But I will show you how
to make these letters absolutely sticky
| | 05:18 | wet in the next exercise.
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| Casting and catching light| 00:00 | I've saved my progress as
Dressed up letters.psd, found inside the
| | 00:04 | 01_thriller folder.
| | 00:05 | In his exercise, I am going to show you
how to light these letters, and also how
| | 00:08 | to catch that light, so that we end up
with something closer to the final effect.
| | 00:13 | And notice, in particular, the word murder
is highly reflective, and as a result, it
| | 00:18 | ends up looking wet.
| | 00:19 | All right, I am going to switch back to
the file in progress, and our first step
| | 00:23 | is to light the scene.
| | 00:25 | Currently, we've got the three default infinite
lights. That's not even close to what we want.
| | 00:29 | For this sort of suspenseful mystery
effect, we definitely need a single
| | 00:33 | spotlight, as if we are allowing
light to shine in through a door.
| | 00:37 | Now, I have created that
light in advance for you.
| | 00:39 | To load it up, click in the a 3D panel
flyout menu, and choose Replace Lights
| | 00:43 | Presets, then navigate to the 01_
thriller folder, click on the Open door.p3l
| | 00:48 | file, and load it on up. And
that'll apply a single spotlight.
| | 00:52 | Now ,it doesn't look, so far, like we
dramatically changed the appearance of the
| | 00:56 | scene, but let me show you what's going on.
| | 00:58 | I am going to click on the
spotlight, here inside the 3D panel, and then
| | 01:01 | assuming that you have one of the 3D
tools selected, as I do, then you can drop
| | 01:05 | down to the bottom of the panel, click on that
Toggle misc 3D extras icon, and choose 3D Light.
| | 01:11 | And that way, we'll be able to see the light.
| | 01:13 | I'll go ahead and zoom out a little bit, so
that we can take it in. Press the F key as well,
| | 01:17 | so I have a little more room to pan around.
| | 01:19 | Notice, there is the spotlight
shining directly on those letters.
| | 01:23 | The positioning was relatively
straightforward, but I do want you to note a few
| | 01:27 | settings that I applied.
| | 01:28 | Notice the Color of the light is white,
which is very important for this effect.
| | 01:31 | I got the Intensity fairly well cranked up to 1.
| | 01:34 | Then I have set the
Softness of the shadows to 25%.
| | 01:37 | I've also opened up the spotlight
quite a bit, so I set the Falloff value, for
| | 01:41 | starters, to 60 degrees, and then I
set the Hotspot value to 45 degrees.
| | 01:47 | Problem is, while we've got a great
light source, that's going to result in some
| | 01:50 | wonderful shadow, as you'll see,
| | 01:52 | we are not doing a very good job of
catching that light on the letters. So I am
| | 01:56 | going to go ahead and zoom back in
here, and pan the letters into view.
| | 02:01 | What we need to do is create some edges, and
the best way to do that is to add a front bevel.
| | 02:06 | So I'll go ahead and click on that
mystery mayhem murder mesh, and then I'll
| | 02:09 | drop down to the little R near the
bottom of the panel, and click on it, and let's
| | 02:13 | go ahead and create a bevel.
| | 02:14 | Make sure Sides is set to Front,
because we don't need a back bevel.
| | 02:17 | I am going to raise the Height value
to 2, and then I am going to take that
| | 02:20 | Width value up to 8.
| | 02:21 | Now, notice that does give us some
specular highlights around the M in the word
| | 02:26 | mystery, but that's not really what we
are looking for. And so I decided to play
| | 02:29 | with the contour by clicking on the down
-pointing arrow head, right next to this little
| | 02:32 | semaphore icon, and the contour I came
up with was the second one in: Cone. And
| | 02:37 | that ends up delivering exactly
the effect we are looking for.
| | 02:40 | Notice how we get these great highlights along
the inside edges of R, and the D, and so forth.
| | 02:45 | Having done that, I'll go ahead and click on
the OK button in order to apply that effect.
| | 02:50 | All right, now let's take
a look at what we've got.
| | 02:52 | I'll go ahead and pan my text over a
little bit, and then go up to the 3D menu,
| | 02:56 | and choose Ground Plane Shadow Catcher.
| | 02:58 | Photoshop will warn you that you only see
the shadow once you ray trace the scene.
| | 03:02 | Go ahead and click OK in order to move on.
| | 03:04 | Then click on the word Scene, here
inside the 3D panel. Drop down to Quality, and
| | 03:09 | change it from Interactive (Painting) to
Ray Trace Draft, and you'll begin to ray
| | 03:13 | trace that scene, and you'll
begin to see the shadows as well.
| | 03:16 | Now, those shadows are way too bright for me.
| | 03:18 | So I am going click, or press the Escape
key, in order to interrupt the render. And
| | 03:22 | I'm going to click on this Global
Ambient Color swatch, and I am going to drop
| | 03:26 | the brightness value down
to 15%, and then click OK.
| | 03:30 | So now we are relying almost exclusively
on that spotlight in order to light the
| | 03:34 | scene, and as a result we
have very dark, dramatic shadows.
| | 03:38 | Now, as usual, we are going to go ahead
and speed up the ray tracing process.
| | 03:42 | Eventually, you'll end up with a
ray traced version of the scene.
| | 03:45 | Now, I want you to note that in
addition to those wonderful dramatic shadows
| | 03:49 | here, we also have these peculiar,
sometimes hard edge, shadows. It's as if the
| | 03:55 | light is actually creating its own
shadows. That is, there is nothing that's going
| | 03:59 | cast the shadow at this location.
| | 04:01 | I'll give you a sense of why this
happens, as well as a very clear sense of how
| | 04:05 | to solve the problem, in the next exercise.
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| Masking away shadow errors| 00:00 | I've saved my progress as Messy shadows.
psd, found inside the 01_thriller folder.
| | 00:05 | And notice, for all intensive
purposes, we have the light source actually
| | 00:09 | casting this half circle of darkness,
which doesn't really make any sense, and we
| | 00:14 | are not seeing that effect in
the final version of the artwork.
| | 00:16 | Notice, in fact, we have the opposite
effect, with a dark vignette down here in the
| | 00:20 | lower right corner, and a very
bright area in front of the letters.
| | 00:24 | Well, I'm here to tell you: everything
that we are going to do from this point on
| | 00:27 | is 2D, so we are all done with the
3D work. Now it boils down to high-end
| | 00:32 | compositing. That is, masking, blend
modes, layer effects, and so forth. And if
| | 00:37 | you've watched the previous courses in
the series, then you know that that's the
| | 00:40 | way 3D works inside of Photoshop.
| | 00:42 | A little bit of 3D, combined with
an awful lot of 2D, can give you
| | 00:46 | absolutely great results.
| | 00:48 | So let's see how to tidy up this shadow.
| | 00:50 | I'll go ahead and switch to the file in
progress here, and I am going to scroll
| | 00:53 | down the list, here inside the Layers
panel, and turn off that mystery grad layer
| | 00:57 | right there, so that we're seeing
the image against a white background.
| | 01:00 | I am also going to switch to the
Rectangular Marquee tool, so that we are
| | 01:03 | no longer seeing the ground plane. And
notice that darkness that I was talking about.
| | 01:07 | So, what's happening here is that
Photoshop is essentially tracing the light
| | 01:12 | source around this elliptical area.
| | 01:14 | Outside the light source, it's not
calculating the 3D effect at all.
| | 01:18 | It's just letting it drop out.
| | 01:20 | So if I turn off the Background layer,
you can see that that area is just going
| | 01:23 | transparent, because it wasn't
involved in the ray tracing calculation.
| | 01:27 | However -- I'll turn the Background
layer back on here -- everything that was
| | 01:31 | involved in the ray tracing
calculation ends up getting a shadow.
| | 01:35 | So that's a bug if you ask me.
| | 01:38 | Another bug is that we've got these
weird shadows over here on the right-hand
| | 01:42 | side, and the far left-hand side as well.
| | 01:45 | I have no idea what's
going on; total mystery to me.
| | 01:48 | However, I do know how to solve the
problem, and that is by applying a mask.
| | 01:52 | So if you are working along with me, go
to that 3D layer, and press the Control key,
| | 01:56 | or the Command key on the Mac, and click
on its thumbnail, and that will go ahead
| | 02:01 | and convert the layer's
transparency mask into a selection.
| | 02:04 | Now let's convert the selection into a
layer mask by dropping down to the Add
| | 02:08 | layer mask icon at the bottom of
Layers panel, and clicking on it.
| | 02:12 | Now that actually takes care of a lot of our
problem right off the bat, but not entirely.
| | 02:17 | Notice that we still have a little
bit of edge down here at the bottom.
| | 02:21 | I want to resolve this problem entirely.
| | 02:23 | So I am going to press the Alt key, or
the Option key on the Mac, and click on the
| | 02:27 | layer mask thumbnail in order to
isolate layer mask on screen. And now let's go
| | 02:31 | ahead and clean it up, using the Brush tool.
| | 02:33 | So, click on the Brush tool in the
toolbox, or press the B key, and then increase
| | 02:38 | the size of the brush to something pretty large.
| | 02:40 | I am going to go ahead and right-click
inside of the image window, and crank that
| | 02:44 | Size value up to, let's say, 250 pixels.
| | 02:48 | The Hardness value should definitely be 0%.
| | 02:50 | Then press the Enter key, or the
Return key on the Mac, in order to hide that
| | 02:53 | panel. Make sure that the
foreground color is black.
| | 02:56 | If it's white, press the X key. And
then I want you to go up here to the Mode
| | 03:00 | option in the Options bar, and
change it from Normal, to Overlay.
| | 03:04 | And now, all you have to do is paint
in order to get rid of those aberrant
| | 03:07 | shadows, both in front of the letters, as
well as over here in the left-hand side.
| | 03:12 | When you finish, just go ahead and
click on the 3D layer thumbnail in order to
| | 03:15 | switch back to the full-
color version of the image.
| | 03:18 | So just to get a sense of what we've
accomplished here, you can Shift+click in the
| | 03:21 | layer mask to turn it off.
| | 03:22 | Notice how just awful that shadow is
before, and then if I Shift+click in order
| | 03:27 | to turn the layer mask back on, we've
got a great, cleaned up shadow; looks
| | 03:32 | absolutely awesome. Pretty noisy, because
I ray traced this image using the Draft
| | 03:36 | setting, but I think that level of
noise ends up well serving the image.
| | 03:40 | All right, now let's go
ahead and composite the image.
| | 03:42 | I am going to turn on this mystery
grad layer once again, inside the Layers
| | 03:45 | panel. And then I am going to turn on this
paper layer that I have created in advance.
| | 03:49 | It's a paper texture, by the way, from
the Fotolia Image Library, about which you
| | 03:53 | can learn more at fotolia.com/deke.
| | 03:56 | Now I'll go ahead and click on the paper
layer to make it active, and I'll change
| | 03:59 | its Blend mode from Normal, up here in
the upper left corner of the Layers panel,
| | 04:03 | to, again, Overlay, in order to create
this kind of old-style poster effect.
| | 04:08 | And then, finally, I want to go ahead and
blend the letters with the background as
| | 04:11 | well, so I'll click on the 3D layer, and
then I'll apply hard light in order to
| | 04:15 | produce this effect here.
| | 04:17 | Now, so far, so good. Certainly, we're
getting some interesting effects here.
| | 04:20 | The letters are turning
a little bit too scarlet.
| | 04:22 | We'll solve that problem in a later
exercise. But first of all, I want to show
| | 04:26 | you how to add a little drop and a
splatter of blood as 2D effects, that come off
| | 04:31 | as looking like 3D, in the very next movie.
| | Collapse this transcript |
| Creating drop-and-splatter effects| 00:00 | In this exercise, we are going to add this
little drop of blood that's coming off the
| | 00:03 | second M, and this splatter down here on
the ground next to the third M, and we'll
| | 00:07 | be doing so using standard 2D shape
layers, combined with layer effects.
| | 00:12 | I have saved my progress as Masked
composition.psd, found inside the 01_thriller
| | 00:16 | folder. And notice, toward the top of
Layers panel, I've created two layers in
| | 00:20 | advance for you. One is called
drop, and one is called splatter.
| | 00:23 | Let me show you what's going on.
| | 00:25 | I am going to turn on the drop layer,
for starters, and then I'll click on that
| | 00:28 | layer to make it active. And I'll go
ahead and zoom in on this object as well.
| | 00:33 | And I've zoomed in to about 300%;
that's going to give me a better sense of
| | 00:36 | what's going on here.
| | 00:38 | Now, it's very easy to create a
droplet layer inside Photoshop.
| | 00:41 | All you have to do is select the
Custom Shape tool from the Shape tool flyout
| | 00:46 | menu, then go up here to the Options bar,
and click on the Shape option to bring
| | 00:50 | up a list of custom shapes
that ship along with Photoshop.
| | 00:53 | I am going to increase the size of
this subpanel, and I am going to load a few
| | 00:56 | other shapes by clicking the right
pointing arrow head, and then choose All.
| | 01:00 | That loads all the shapes
that ship along with the program.
| | 01:03 | Photoshop will ask you if you want to
replace the existing shapes. The answer
| | 01:06 | is yes, because every single shape that
ships with Photoshop is included in the All set.
| | 01:11 | So go ahead and click OK, and then
scroll down the list until you see this guy
| | 01:15 | there: Raindrop. And then you just
click, and draw inside the image window.
| | 01:19 | So that's how I created
the drop in the first place.
| | 01:22 | Now let's dress it up using layer
effects, by clicking on the vector mask
| | 01:25 | thumbnail, here inside the Layers panel.
Then drop down to the F, X icon, and choose
| | 01:30 | Inner Shadow in order to bring
up the Layer Style dialog box.
| | 01:33 | By default, the color of the inner
shadow is black, the Blend Mode is Multiply;
| | 01:37 | that's what we want.
| | 01:38 | Go ahead and crank up the
Opacity value, however, to 100%.
| | 01:41 | Then drop down to the Angle value.
| | 01:44 | If you are working along with
me, turn off Use Global Light;
| | 01:47 | this is very important. And then dial
in an Angle value of -135 degrees, take the
| | 01:53 | Distance value down to 1 pixel, leave
the Choke value at 0%, and take the size
| | 01:58 | value down to 1 pixel as well.
| | 02:00 | So we have this slight
inner shadow, and nothing more.
| | 02:03 | Notice it's encroaching on the
bottom corner of that M. We'll fix that
| | 02:07 | problem in just a moment.
| | 02:08 | Now I want you to click on Gradient
Overlay, which we'll use to create a
| | 02:11 | very small highlight.
| | 02:13 | Change the Style from Linear, to Radial.
| | 02:15 | We'll end up with a little dark spot in
the center, and brightness along the outside.
| | 02:19 | We want the opposite effect, so turn on
the Reverse check box. And now go ahead
| | 02:23 | and reduce the Scale value to 40%, and I
want you to change the Blend mode from
| | 02:27 | Normal, to Linear Dodge, and that way the
blacks drop out, and the whites result in
| | 02:32 | a very bright highlight.
| | 02:33 | Now I'll go ahead and drag inside of
the image window to position the highlight
| | 02:37 | right about there, and that's why it
helps to be zoomed in, by the way: so you
| | 02:41 | have precise control over the
positioning of that highlight.
| | 02:45 | Now click okay in order to accept those
layer effects, and let's wrap things up
| | 02:48 | by changing the Blend mode assigned to
this layer from Normal, to Linear Dodge, so
| | 02:53 | we end up matching the color of
the droplet to the color of letters.
| | 02:56 | Now, here on the PC, I have to press
the Escape key in order to deactivate the
| | 03:00 | Blend mode option, and now I am going
to switch back to the Rectangle Marquee
| | 03:03 | tool, and press Control+Left Arrow, or
Command+Left Arrow on the Mac, in order to
| | 03:08 | nudge that droplet just one pixel to
the left, and that ends up creating a
| | 03:12 | more continuous effect.
| | 03:13 | All right, now I am going to scroll
down to the left-hand edge of the M in the
| | 03:17 | final word, murder, and I'll turn on the
splatter layer here inside of the Layers panel.
| | 03:22 | Go ahead and click on
that layer to make it active.
| | 03:24 | If you are not seeing the path outlines,
click on that vector mask thumbnail
| | 03:27 | in order to turn them on. And I
want you to see what we have here is a
| | 03:31 | combination of three ellipses.
| | 03:32 | That's all there is to it.
| | 03:33 | So I drew one ellipse, using the
Ellipse tool, which you can get from the
| | 03:36 | Shape tool flyout menu. And then, after
drawing the first ellipse, I went ahead
| | 03:41 | and turned on the second option right there,
Add to shape area, and then drew the other two.
| | 03:46 | So that's all that's going on there.
| | 03:48 | Now let's turn off the path outline
by clicking the vector mask thumbnail.
| | 03:52 | We are going to add a few layer
effects by clicking on the F, X icon.
| | 03:55 | We'll start with a drop shadow.
| | 03:56 | So go ahead and choose Drop Shadow.
| | 03:58 | We are looking for an angle of -15
degrees, which should be the Global Light
| | 04:02 | setting inside this file.
| | 04:04 | Assuming that the Blend mode is set
to Multiply, and the Color is set to the
| | 04:07 | black, go ahead and raise the Opacity
value to 100%. Then I am going to tab
| | 04:11 | my way down to the Distance value,
take it down to 4 pixels, leave the Spread
| | 04:15 | value at 0, and take the
Size value down to 2 pixels.
| | 04:19 | Now click on Inner Shadow which we
are going to use, actually, to create an
| | 04:22 | inner highlight. So go ahead and
click on it to make it active, change the
| | 04:25 | color by clicking on that color swatch,
and increasing the brightness value to
| | 04:29 | 100%, then click OK.
| | 04:31 | Go ahead and change the Blend mode to
Linear Dodge, so that we end up with a
| | 04:35 | very bright highlight.
| | 04:36 | The Angle value should still
be set to -15 degrees.
| | 04:39 | Let's take the Distance value down to
2 pixels, leave Choke set to zero, and
| | 04:44 | take the Size value down to 3 pixels.
| | 04:46 | Now, that ends up creating this very
soft highlight, as you can see here.
| | 04:51 | I wanted something that was a
little bit hotter, and more indicative of a
| | 04:54 | wet, reflective edge.
| | 04:55 | So I changed the Contour setting by
clicking on this down-pointing arrow head, and
| | 04:59 | then clicking on the second item in
the first row, Cone, and finally, turn on
| | 05:03 | the Anti-aliased check box.
| | 05:05 | All right; one more option to
apply, and that's a gradient overlay.
| | 05:08 | Go ahead and click on the
Gradient Overlay option to turn it on.
| | 05:11 | Let's change the Angle value to 0 degrees,
and we are going to dial in a different
| | 05:15 | gradient this time, so click on the
Gradient bar in order to bring up the
| | 05:19 | Gradient Editor dialog box. Double-
click on that black Color Stop in order to
| | 05:24 | bring up the color panel, and dial in
that shade of red that we've been using,
| | 05:28 | which is the Hue of 10 degrees, a
Saturation of 100%, and a Brightness of 50%.
| | 05:33 | Click OK in order to accept that
setting, and then click OK again to return to
| | 05:37 | Layer Style dialog box.
| | 05:39 | Now change the Blend mode from Normal
to Multiply, so we drop out the whites,
| | 05:43 | and burn in those reds, and I want you to
change the Opacity value to 75%, and that's it.
| | 05:48 | Now go ahead and click OK.
| | 05:50 | The final step is, with this layer
selected, I want you to go up to the Layers
| | 05:54 | panel blend mode pop-up menu, click on
the word Normal, and change the mode to
| | 05:58 | Hard Light in order to create this effect here.
| | 06:01 | All right; now I am going to center my
zoom by pressing Control+0, Command+0 on a
| | 06:05 | Mac, zoom in a little bit as well.
And that's the final drop and splatter
| | 06:09 | effect using 2D vector-based shape
layers, and every day average layer effects,
| | 06:14 | here inside Photoshop.
| | Collapse this transcript |
| Color-correcting 3D in Camera Raw| 00:00 | In this exercise, I'll show you how to
color-correct the blood, as well as add
| | 00:04 | this dark vignette around the
composition, and noise up the image as well, and we
| | 00:08 | are going to do so entirely using Camera Raw.
| | 00:12 | I have saved my progress as 3D thriller
type.psd, found inside that 01_thriller
| | 00:17 | folder. And the first thing you need
to do is save out this composition as a
| | 00:21 | flat TIFF file, and you do that by going up to
the File menu, and choosing the Save As command.
| | 00:28 | Then go ahead and switch the Format
from PSD to TIFF, and turn off the layers
| | 00:33 | check box so that you're
saving a flat copy of the image.
| | 00:37 | Now I should tell you, if you're
following along with me, I've already done
| | 00:40 | this for you in advance.
| | 00:41 | I'm just showing you how I did it.
| | 00:43 | The file will still be called 3D thriller
type, but it will end with the TIFF extension.
| | 00:47 | I'll click on the Save button to
bring up the TIFF Options dialog box.
| | 00:51 | Make sure Image Compression is set to
LZW, Pixel Order should be Interleaved,
| | 00:55 | Byte Order does not matter.
| | 00:57 | Now go ahead and click OK
in order to create that file.
| | 01:00 | Now what I am going to do is switch over
to the Bridge by clicking on the Launch
| | 01:04 | Bridge icon up here in the Applications
bar, and that will take me to the Adobe
| | 01:08 | Bridge, which ships with every
version of Photoshop out there.
| | 01:11 | I have the Bridge trained on the
contents of the 01_thriller folder.
| | 01:15 | I'll go ahead and select that file I
just created, the one called 3D thriller
| | 01:19 | type.tif, right-click on the image --
it's very important you have the TIFF image
| | 01:23 | selected, by the way, not the original
PSD -- and then choose Open in Camera Raw,
| | 01:28 | or you can press Control+R, or Command+R on a Mac.
| | 01:30 | Now I am going to zoom in slightly here.
| | 01:33 | The first thing I want to do is modify
the color of the word murder so that it
| | 01:37 | looks more like blood, as opposed to
the scarlet color that we're seeing now.
| | 01:42 | Often times you might try to pull
something like that off using the Temperature
| | 01:44 | setting, for example.
| | 01:45 | So you could back off on the yellow, and you
could add a little bit of blue to the scene.
| | 01:51 | You might also want to either back off
from the green by adding some magenta --
| | 01:55 | that looks terrible -- or back off the
magenta by adding some green using the Tint
| | 02:00 | option, and then you could struggle
with the Exposure settings as well.
| | 02:03 | But every one of these options inside
the Basic panel affect the image globally.
| | 02:08 | That's not what we are look for.
| | 02:09 | So I am going to reinstate Temperature
and Tint values of 0
| | 02:13 | apiece, and then I'll click on this
fourth icon in: HSL/Grayscale. And you should
| | 02:18 | have the Hue tab selected.
| | 02:20 | Go ahead and grab that Reds slider
triangle, and drag it over to the right until
| | 02:25 | you arrive at a value of -65.
| | 02:28 | All the other values should be set to zero.
| | 02:29 | So we are just changing Reds,
and none of the other Hues.
| | 02:33 | And what we are doing, by the way, is
rotating the Reds to cool them down, and
| | 02:37 | make them just a little bit bluer.
| | 02:39 | Now I am going to the click on the
Luminance tab so we can adjust the
| | 02:42 | brightness of those reds, and I am going to
take that Reds value down once again to -65.
| | 02:47 | Now, the fact that I've changed those
two Reds values, Hue and Luminance, to -65
| | 02:53 | is absolute coincidence.
| | 02:55 | I want you to know, because the way
those values are measured is very different,
| | 02:58 | but these are the values I came up with.
| | 03:01 | Now let's go ahead and add the vignette
by clicking on this fX icon, and that
| | 03:05 | will switch you to the Effects subpanel,
then drop down to the Post Crop Vignetting
| | 03:09 | options, and change the amount value to -100.
| | 03:13 | The other values are fine as is. That is,
their default settings of 50, 0, 50, and 0,
| | 03:18 | respectively, are exactly
what we are looking for.
| | 03:21 | The Style should be set to Highlight Priority.
| | 03:23 | Now let's add a little bit of gray, so
that we're essentially adding a kind of
| | 03:27 | old poster effect, but we are also
matching the overall noise level of the scene
| | 03:32 | to the noise found inside
that draft, ray traced shadow.
| | 03:36 | I'll start by taking that first Amount
value up to 25%, and then I'll set the
| | 03:40 | Size value to 75, and the Roughness value
to 75 as well. And we end up with this
| | 03:46 | finished effect here.
| | 03:47 | Now we are not going to
open it inside of Photoshop.
| | 03:50 | I know that seems strange. Instead,
what I want you to do is click the Done
| | 03:54 | button in order to apply those
settings as metadata that's now associated
| | 04:00 | with that TIFF image.
| | 04:01 | We will then turn around and place this
TIFF image as a Camera Raw Smart Object
| | 04:06 | into a larger composition
inside the very next exercise.
| | Collapse this transcript |
| Placing Camera Raw and raster art| 00:00 | In this exercise, we are going to take
that Camera Raw TIFF file that we created
| | 00:04 | in the previous movie, and we are going
to place it inside the final composition.
| | 00:08 | It will automatically arrive as a Smart
Object, which means that we can change
| | 00:12 | our Camera Raw settings anytime we like.
| | 00:14 | Now, if you are working along with
me, you should have open two files.
| | 00:18 | The first one is 3D thriller type.psd.
| | 00:22 | This is the final version of the actual
3D composition that we ended up with a
| | 00:26 | couple of movies ago. And the other one
is poster type.psd. Both are found inside
| | 00:30 | the 01_thriller folder.
| | 00:32 | Now, when you open the second image,
it's very possible you will get a font
| | 00:35 | warning. That's telling you that you
are missing a few fonts on your system.
| | 00:38 | Don't worry about it; just
click OK to move forward.
| | 00:41 | You don't need the fonts
in order to see the type.
| | 00:43 | It will look great on screen, just as long
as you don't edit any of the text layers.
| | 00:47 | We can't really see this white type
against this bright checkerboard background,
| | 00:51 | so what I suggest you do is change the color
of that checkerboard by pressing Control+K,
| | 00:56 | or Command+K on the Mac, to bring up the
Preferences dialog box, and then click on
| | 01:01 | Transparency and Gamut over here on the
left-hand list. Change the Grid Colors
| | 01:05 | from Light, to Medium.
| | 01:07 | Now, I don't really like that much
contrast between my checkers, so what I do -- and
| | 01:12 | this is totally up to you -- I click on
this second Color Swatch here, the darker
| | 01:16 | of the two, and I go ahead and increase
the Brightness value to about 54%, and we
| | 01:22 | end up with this very slight grayscale
variation. Then go ahead and click OK a
| | 01:26 | couple of times in order to change that
transparency pattern, and now you can
| | 01:30 | better see that white text.
| | 01:32 | Now let's go ahead and introduce the
Camera Raw TIFF file by going up to the
| | 01:36 | File menu, and choosing the Place command.
| | 01:39 | Those of you who loaded dekeKeys, I've
given you a custom keyboard shortcut of
| | 01:42 | Control+Shift+Alt+D, or Command+
Shift+Option+D on a Mac.
| | 01:46 | Go ahead and locate the 01_thriller
folder, and find that file, 3D thriller
| | 01:51 | type.tif, that we created in the
previous movie. Then click in the Place button
| | 01:55 | to once again bring up Camera Raw.
| | 01:57 | This time around you don't have to
make any modifications; just go ahead and
| | 02:01 | click OK to place the file.
| | 02:02 | Now at this point you might think, well,
what was the purpose of the previous exercise?
| | 02:06 | Why didn't we just choose the Place
command, go ahead and place this TIFF image,
| | 02:09 | and then modify it directly inside Camera Raw?
| | 02:12 | Well, had we not modified the TIFF
image in Camera Raw in the previous
| | 02:16 | exercise, we would not have access to
Camera Raw in this exercise, and that's
| | 02:21 | just the way it goes.
| | 02:22 | So go ahead and click OK in
order to place that image.
| | 02:26 | It'll come in at 100%, so you don't
need to make any modifications to the Size.
| | 02:30 | Just go and press the Enter key, or
the Return key on a Mac, in order to
| | 02:34 | accept the placement.
| | 02:35 | Now we want to send this image to the
back of the stack, and the easiest way
| | 02:39 | to do that -- you can go ahead and drag the image
down, like so, here inside the Layers panel.
| | 02:43 | What you don't want to do is drop the
image inside one of the folders; that's
| | 02:46 | going to ruin the effect.
| | 02:47 | So you want to make sure to drag it, and
drop it all the way down, like so. Or, you
| | 02:52 | can just press the keyboard shortcut:
Control+Shift+left bracket
| | 02:58 | on the PC; Command+Shift+left
bracket on the Mac.
| | 02:58 | In any case, you will end up with this effect
here. So we've got this Camera Raw Smart Object.
| | 03:03 | If you ever want to modify the
settings, you just double-click on the
| | 03:05 | thumbnail, and up will come Camera Raw,
complete with those exact same settings
| | 03:09 | we applied in the last movie, plus we
have all this text that I've created
| | 03:13 | for you in advance.
| | 03:15 | The one problem is that the right half
of the word mystery is declining in the
| | 03:19 | shadow, thanks to that vignetting effect.
And we're losing some of the legibility
| | 03:23 | and detail associated with
the E and R in the word murder.
| | 03:27 | Now, that wouldn't really happen if this
were a 3D scene, because presumably the
| | 03:32 | vignette would be behind the letters.
| | 03:34 | So what we need to do is
reintroduce the letters in a separate file.
| | 03:37 | So I am going to start things
off by clicking on the stars group.
| | 03:40 | That way the next layer we create will
appear at the top of the stack. And I'm
| | 03:44 | going to switch back to that
3D thriller type.psd image.
| | 03:48 | We are going to go ahead and grab this
3D layer, and we are going to introduce it
| | 03:52 | into the new composition,
but not as a 3D object.
| | 03:56 | The reason being, if we take it in
as a 3D object, Photoshop is going to
| | 04:00 | tediously re-render the scene, which is
a big drag. Just because the 3D object
| | 04:05 | goes into a different
composition, it has to be re-rendered.
| | 04:08 | So the best way to avoid that problem
is to just go ahead and rasterize the
| | 04:13 | layer. Not permanently; in other words,
we are not going to save our changes to
| | 04:16 | this file, we're just
going to do so temporarily.
| | 04:19 | I'll go ahead and expand
the width of my Layers panel.
| | 04:22 | The best way to work is to right-click
in an empty portion of this layer that is
| | 04:26 | either above or below the layer name.
Go ahead and right-click, and then choose
| | 04:30 | the final command, the one that says
Rasterize 3D, and now you've rasterized the
| | 04:35 | rendered version of the image.
| | 04:37 | Then go ahead and right-click in an
empty portion of layer again, and choose
| | 04:41 | Duplicate Layer. Then, inside the
Duplicate Layer dialog box, go ahead and change
| | 04:46 | the Document option to
Poster type.psd, and click OK.
| | 04:50 | Now, before I show you the effect of
that edit, I want you to go up to the File
| | 04:54 | menu, if you are working along with
me, and choose the Revert command.
| | 04:58 | That way you don't end up losing that 3D
object, because if you were to save this
| | 05:02 | file right now, you would ruin just
about all the work you've done throughout
| | 05:06 | this chapter, and you don't want that.
| | 05:07 | So go ahead and choose Revert.
| | 05:09 | That will go ahead and reinstate the 3D object.
| | 05:11 | You can tell, because layer
thumbnail sports a tiny little cube in the
| | 05:15 | bottom right-hand corner.
| | 05:16 | All right, now let's switch back to
Poster type.psd, and you can see that we
| | 05:20 | have a new layer called mystery
mayhem murder, and that is the rasterized
| | 05:24 | version of the type. It's looking good.
| | 05:27 | In other words, we've got a bright
E, R, Y over here on the right-hand side of
| | 05:31 | word mystery, and the E and R are looking
better over here on the right-hand side of murder.
| | 05:36 | However, we're covering up the text with
the shadows, which is a pretty cool effect.
| | 05:40 | I don't want to go that far with it,
but we are also covering up the drop, and
| | 05:44 | the splatter of blood, which
is absolutely unacceptable.
| | 05:47 | I am going to show you how to mask
this effect in order to create the final
| | 05:50 | version of the poster using a
knockout layer in the very next exercise.
| | Collapse this transcript |
| Mastering register and knockout| 00:00 | In this exercise, we're going to mask
these letters so that we reveal the drop
| | 00:04 | and the splatter, as well as
brighten up these letters over here on the
| | 00:07 | left-hand side of the image.
| | 00:09 | And we're going to do so, not by
modifying the existing layer mask, because that
| | 00:12 | would be a destructive modification,
rather we're going to mask that mask, and
| | 00:17 | then we're going to turn around and
mask the other mask, so we will have two
| | 00:20 | levels of nested masks that we'll
pull off using a knockout layer.
| | 00:24 | It can be a little bit
bewildering where the logic is concerned.
| | 00:27 | However, once you come to terms with them,
knockout layers can result in some of
| | 00:31 | the most flexible
compositions you've ever worked in.
| | 00:34 | However, before we go there, I
have a slight registration problem.
| | 00:37 | This is the kind of thing you can
encounter in Photoshop all the time, and I
| | 00:41 | want to show you how to get to the bottom of it.
| | 00:43 | I've saved my progress as Near-
final comp.psd, found inside that
| | 00:47 | 01_thriller folder.
| | 00:48 | I am going to go ahead and zoom in to
the 100% level, and scroll over so that we
| | 00:52 | can better see the letters.
| | 00:54 | I am also going to change the blend
mode associated with this top layer from
| | 00:57 | Hard Light, to Normal, just so we
can better see what we are doing.
| | 01:00 | Now, notice if I turn this layer off,
watch the letters inside the image window.
| | 01:05 | Did you see them shift
down just ever so slightly?
| | 01:08 | Then you turn the layer back on,
and they shift up a little bit.
| | 01:11 | And I don't know if you've experienced
this, but this is a kind of stuff that
| | 01:15 | happens in Photoshop when you're
trying to merge two identical layers. All of
| | 01:18 | a sudden they're not in alignment
with each other, and it just ruins
| | 01:21 | everything, because after all, if we
now try to mask this top layer with the
| | 01:25 | bottommost layer, unless they're
absolutely in alignment, the effect will be
| | 01:29 | off, so it's no good.
| | 01:31 | Well, which layer is the problem?
| | 01:33 | Well, one of these things came in a
pixel off. Which layer is it going to be?
| | 01:37 | Well, we introduced the top layer using
the duplicate layer function, just at the
| | 01:41 | end of the previous exercise.
| | 01:43 | That's an automated command, and as
long as the two compositions are exactly
| | 01:46 | the same size, which they were, then you get
exact registration, so that cannot be the problem.
| | 01:52 | This layer must be where it needs to be.
| | 01:54 | The problem has to be
this Camera RAW smart object.
| | 01:57 | So go ahead and click on it to select it,
and then this is how you confirm that
| | 02:01 | this is the problem layer.
| | 02:02 | You go up to the Edit menu, and you
choose Free Transform, or press Control+T, or
| | 02:06 | Command+T on the Mac.
| | 02:08 | Then go up to the Options bar, and I
want you to make sure this little delta
| | 02:11 | icon, the triangle, is turned off; that's
very important. And then click on the top
| | 02:16 | right point in the reference point matrix,
and if everything is positioned exactly
| | 02:20 | where it should be, both the X and Y
values should be 0. But in our case, the Y
| | 02:25 | value is 1, so it's off.
| | 02:28 | So go ahead and change it to 0, and
then press the Enter key a couple of times,
| | 02:32 | or the Return key a couple of times
on the Mac, in order to confirm the
| | 02:35 | placement of that layer.
| | 02:37 | Now go back up to the top text layer
and turn it off, and you will notice
| | 02:41 | no shift onscreen.
| | 02:43 | So we are not seeing a shift in
the placement of those letters.
| | 02:46 | Now, go ahead and turn the layer back on,
and change the blend mode back to Hard Light.
| | 02:50 | All right!
| | 02:51 | Now, let's introduce that knockout layer.
| | 02:53 | I am going to create a new layer by
pressing Control+Shift+N, or Command+Shift+N on
| | 02:57 | the Mac, call it knockout, click OK.
| | 03:00 | Now, let's create a
gradient using the Gradient tool.
| | 03:02 | So what I'd like you to do is select
the Gradient tool, either here in the
| | 03:05 | toolbox, or you can press the G key.
And then let's go ahead and change the
| | 03:09 | foreground color to something other than black.
| | 03:11 | In fact, I am going to dial in a Hue
value of 210 degrees, Saturation value of
| | 03:16 | 100%, and a Brightness value of 100% as well.
| | 03:19 | If you are not seeing your HSB values,
and you are trying to follow along with
| | 03:22 | me, then go to the Color panel
flyout menu, and choose HSB sliders.
| | 03:27 | Now, the reason I am going with this
different color is so that you can see that
| | 03:30 | knockout layers use
opacity to create transparency.
| | 03:35 | I know that doesn't make any
sense, but that's how they work.
| | 03:38 | Again, once you come to terms with
them, they are such useful tools.
| | 03:41 | Now, the next thing we need to do is
go up here to the Gradient bar in the
| | 03:44 | Options bar, click the down-pointing
arrow head, and choose the second icon in,
| | 03:48 | which is Foreground to Transparent.
| | 03:50 | And then I want you to drag from right
about here, so in to the right from that drop.
| | 03:55 | Go ahead and drag from here, to about
this location, and I am pressing the Shift
| | 03:59 | key in order to constrain the
angle of my drag to exactly horizontal.
| | 04:03 | Now, that doesn't look like what we want at all.
| | 04:06 | So what I would like you to do is go
ahead and double-click on an empty portion
| | 04:11 | of this layer here in order to bring up
the Layer Style dialog box. And then we
| | 04:15 | are going to change the
Knockout from None, to Shallow.
| | 04:18 | Very important that you
choose Shallow; do not choose Deep.
| | 04:22 | So go ahead and select the Shallow option.
| | 04:24 | And now, in order to create the Knockout,
go ahead and reduce the Fill Opacity
| | 04:29 | value; not Opacity, but Fill Opacity.
| | 04:31 | This is such black magic.
| | 04:33 | You have to get the secret
handshake exactly right, here.
| | 04:35 | Go ahead and take that
Fill Opacity value down to 0%.
| | 04:39 | Notice what we're doing is we're taking
the opaque portion, the blue portion of
| | 04:43 | that gradient, and using it to burrow
all the way down to the bottom of the
| | 04:48 | composition, which is
absolute transparency. All right!
| | 04:51 | Now click OK.
| | 04:52 | That also, of course, is not exactly what
we are looking to do. However, it is a
| | 04:56 | step in the right direction.
| | 04:57 | Go ahead and click OK in
order to accept that modification.
| | 05:00 | And now I want you to select both the
knockout layer, and the layer below it,
| | 05:04 | that rasterize 3D object layer there, by
clicking on one, Shift+clicking on the other.
| | 05:09 | And then go to the Layers panel
flyout menu, click on the icon, and choose
| | 05:14 | New Group from layers, and let's go ahead and
call this guy masked text, like so, and click OK.
| | 05:20 | And notice, as soon as we
click OK, everything gets better.
| | 05:24 | Go ahead and twirl open that Group,
and I want you to see that it now
| | 05:26 | contains the knockout layer, as well as
the text layer below. By virtue of the
| | 05:31 | fact that Knockout is set to Shallow,
and we are working inside of a group,
| | 05:36 | knockout just burrows through the other
layers inside the group, which is just
| | 05:40 | the rasterize 3D text, and nothing else,
and it just goes ahead and reveals the
| | 05:44 | other layers below.
| | 05:45 | So as a result, notice here we can see
the droplet, and the splatter as well.
| | 05:50 | So if you want to see the difference here,
what kind of difference this group is
| | 05:53 | making, go ahead and turn the
eyeball off for the entire group.
| | 05:56 | Notice that we are losing the R and the
Y in the shadows, as well as some of the
| | 06:00 | definition associated with the E and
the R. Go ahead and turn that group back
| | 06:03 | on, and you can see that
everything looks better.
| | 06:06 | So, really great effect!
| | 06:07 | And if you want to test the
contribution of the knockout layer, go ahead and
| | 06:10 | turn it off. Notice that goes ahead
and covers up all this image detail over
| | 06:15 | here on the left-hand side, including
the drop, the splatter, and the text.
| | 06:18 | Now go ahead and turn it back on in
order to apply that mask to an image.
| | 06:23 | So in other words, the knockout
layer is serving as a kind of mask.
| | 06:27 | Now, in my opinion, the only problem
with this effect is that the text is
| | 06:31 | now absolutely white.
| | 06:32 | So we don't even have a slight bit
of shadow drifting over the text.
| | 06:36 | And I miss that shadow that we had before.
| | 06:38 | If I turn off the knockout layer,
you can see that we had an awful lot of
| | 06:42 | shadow going on. Too much of course; it fairly
obliterates the legibility of some of this text.
| | 06:47 | However, I do like the effect, so it
would be nice if we could take this
| | 06:51 | knockout layer, which as I say, is a
kind of mask, and we could then turn around
| | 06:55 | and mask it, and that is
something I'll show you how to do.
| | 06:58 | I will go ahead and turn that layer back on.
| | 07:00 | I'll show you how to mask a mask that's
already masking a mask below it in the
| | 07:05 | next and final exercise.
| | Collapse this transcript |
| Combining layer mask and density| 00:00 | In this exercise, I am going to show you
how to dial back that knockout layer by
| | 00:04 | combining a layer mask, along
with a reduced density setting.
| | 00:08 | I have saved my progress as
Knockout comp.psd, found inside that
| | 00:12 | 01_thriller folder.
| | 00:13 | My purpose here is to go ahead and
bring back some of the shadow over the white
| | 00:17 | letters over here on the
left-hand side of the image.
| | 00:20 | So if you are working along with me,
make sure the masked text group is expanded.
| | 00:25 | Go ahead and click on the knockout layer
to make it active, and then click on the
| | 00:28 | Add layer mask icon in order
to create a new layer mask.
| | 00:32 | Now go ahead and grab your Brush tool,
either by selecting it from the toolbox,
| | 00:36 | or pressing the B key.
| | 00:37 | Now, if you have been working right
along with me, then you still have your
| | 00:40 | Size value set to 250 pixels, and your
Hardness set to 0%. That actually works
| | 00:45 | great for this mask,
| | 00:46 | so go ahead and accept those values. And
by the way, I brought up that panel
| | 00:50 | by right-clicking inside the image window.
| | 00:52 | However, it's very possible that
your blend mode is still set to Overlay.
| | 00:55 | If so, go ahead and switch it back
to Normal up here in the Options bar.
| | 01:00 | Then make sure that the foreground
color is black, and go ahead and paint inside
| | 01:04 | of the text, like so. And what I'm doing
is re-establishing those shadows all the
| | 01:09 | way. Ao I am painting a hole in the
knockout, which means that I am restoring the
| | 01:13 | contents of the layer below.
| | 01:15 | So I'm actually painting away
transparency, as very, very strange as that sounds.
| | 01:21 | All right; now if you want to confirm
what kind of job you've done, you can Alt+
| | 01:24 | click, or Option+click, on that layer
mask thumbnail, there inside the Layers
| | 01:28 | panel, and you should see just
a big blob of black, like this.
| | 01:32 | That's exactly what we want.
| | 01:33 | All right. I am going to switch back to the
Rectangular Marquee tool, just so I have a smaller cursor.
| | 01:37 | Then I'll Alt+click, or Option+click, on
that layer mask thumbnail again, so I can
| | 01:41 | see the full color composition.
| | 01:43 | You want to make sure that this
layer mask is active, by the way.
| | 01:47 | Now the problem, of course, is that
the shadows are so very aggressive that
| | 01:51 | they're all but ruining
the legibility of this text.
| | 01:54 | So we want back things off a little bit,
and you can do that, again, with the layer
| | 01:58 | mask thumbnail selected.
| | 01:59 | What you do is you go up to Window
menu, and choose Masks to bring up the Masks
| | 02:04 | panel. And then, in order to dial down
the contribution of the layer mask, I want
| | 02:09 | you to take the Density value down to
50%. And you'll note that the blob,
| | 02:14 | that big black blob, changes to a big
gray blob there inside the Layers panel, and
| | 02:19 | we can now better see through the
shadow to the white text below it. And as a
| | 02:23 | result, we end up getting a
much better and more legible mix.
| | 02:27 | So that's how you create a layer mask
that affects the knockout layer, that's
| | 02:30 | masking the layer mask below it. So we've
basically got a mask, inside of a mask,
| | 02:35 | inside of another mask, meaning that we
can edit any of these masks independently
| | 02:39 | of each other. And, as an added bonus,
we have managed to create this thrilling
| | 02:43 | work of 3D poster art here
inside Photoshop Extended.
| | Collapse this transcript |
|
|
2. Hand-Drawn LettersMaking hand-drawn type in 3D| 00:01 | In this chapter, I am going to show
you how to create a hand drawn 3D type
| | 00:04 | effect, and there is a lot you can do
with it. You can create this kind of
| | 00:07 | cartoon effect that you are seeing
here, or this fairly slight variation, that
| | 00:12 | has a very different feel to it. It's
what I am calling the glory type effect.
| | 00:15 | And I've also got something totally
different here; this the sort of neon effect, as well.
| | 00:20 | So a very, very versatile
technique, as you are about to see.
| | 00:23 | We are going to start inside this
file called Editable text.psd. It's found
| | 00:27 | inside the 02_drawn folder.
| | 00:30 | Let's start things off by selecting
the type layer, and pressing Control+J, or
| | 00:33 | Command+J on a Mac, to create a duplicate.
| | 00:36 | Then turn the original layer off, just in
case you have to come back to it later.
| | 00:39 | The next step is to go up to the 3D menu,
choose Repousse, and then choose Text layer.
| | 00:43 | If you see the warning, go
ahead and click the Yes button.
| | 00:46 | Then, inside the Repousse dialog box, we
are going to make some very basic changes.
| | 00:51 | Let's start by changing the Depth
value to 0.5, although I must say, that's
| | 00:55 | ultimately up to you. And
then this part is not up to you;
| | 00:58 | you have to do this.
| | 00:59 | Go up to the All icon in the Materials
area, click on it, and switch to No Texture.
| | 01:04 | Then click off the Materials list in
order to hide it, and click the OK button in
| | 01:08 | order to apply your change.
| | 01:10 | Now, the great thing about this effect
is that it can be achieved using the
| | 01:13 | default lights, but only so long
as you don't move the object around.
| | 01:18 | So in other words, we are going to do all
of our positioning using the Camera tool.
| | 01:21 | So go ahead and grab the camera, near the
bottom of the toolbox, and just drag the
| | 01:25 | text around as desired.
| | 01:27 | I am looking for something around
here, let's say. And I do, of course, have some
| | 01:31 | specific settings, although
feel free to go your own way.
| | 01:34 | Once again, so long as you work with
the Camera tool, and you don't touch this
| | 01:38 | Object tool, or the Mesh tool, or
any of the others, you will be fine.
| | 01:43 | But just for the record,
here are the settings I applied.
| | 01:45 | For the Orientation values, I changed
X to -62, and then I set the Y value to
| | 01:50 | 360, which is where it is right now.
| | 01:52 | I'll change the Z value to -150.
| | 01:54 | Then if you switch over to the Pan
tool, you'll see the Position values. I
| | 01:58 | entered the next value of -170, a Y
value of -1250, and a Z value of -1300, and I
| | 02:06 | ended up creating this base type effect.
| | 02:08 | The next step is to adjust the lights,
so go over to the Layers panel, and
| | 02:12 | double-click on the thumbnail for the hand
drawn layer in order to bring up the 3D panel.
| | 02:16 | Then go ahead and click on the first
of Infinite Lights, and for each one of
| | 02:20 | these guys, you want to turn off Create Shadows.
| | 02:23 | You don't want to have any shadows
associated with this effect, because if you do,
| | 02:27 | then those shadows will get
traced in the future steps.
| | 02:30 | So go ahead and click on each one of these
lights, and turn off the Create Shadows check box.
| | 02:34 | Now, the next trick is to try to
increase the contrast of the effect. And the
| | 02:38 | reason we need a lot of contrast is
because contrast determines edges, and edges
| | 02:43 | are what Photoshop will trace.
| | 02:45 | So right now, you can see that we have
these nice white letters; that's great.
| | 02:49 | However, we want to strengthen the
darkness of some of these sides here, and the
| | 02:53 | best way to do that at this point time
in time is to turn off Infinite Light 2.
| | 02:56 | So I am just going to go ahead and
turn off that eyeball there, and that'll
| | 03:00 | darken up some of those sides.
| | 03:02 | Finally, let's go ahead and ray trace
the effect, and we don't need to ray trace
| | 03:06 | for the sake of shadows, because
there are not going to be any shadows.
| | 03:09 | However, we do want to
smooth out these jagged edges.
| | 03:12 | So go ahead and click on Scene at the
top of the 3D panel, and change the Quality
| | 03:16 | setting from Interactive, to Ray Traced Draft.
| | 03:18 | Now, because there's so little going on
with this effect, it's actually really
| | 03:22 | super simple for Photoshop to render, so
it will go lickety-split by comparison
| | 03:27 | to some of the effects that we have created.
| | 03:28 | You should be able to ray trace this type in
under a minute. And in my case, it's already done.
| | 03:34 | And, by the way, that is
all there is to the 3D effect.
| | 03:37 | From this point on, it's going to be
solid 2D effects as I'll begin to show you
| | 03:42 | in the next exercise.
| | Collapse this transcript |
| Tracing letters with filters| 00:00 | In this exercise, I'll show you how to
trace the letter forms, and the extruded
| | 00:04 | sides, using a couple of smart filters.
| | 00:06 | I've saved my progress as No-shadow type
.psd, found inside the 02_drawn folder.
| | 00:12 | Make sure that the 3D layer is
selected here at the top of the Layers panel,
| | 00:15 | and before we can apply Smart Filters, we
need to convert this layer to a Smart Object.
| | 00:20 | So go up to the Layers panel flyout
menu, and choose Convert to Smart Object.
| | 00:24 | In all, we are going to need three
different versions of this layer.
| | 00:27 | So go ahead and press Control+J, Command+
J on the Mac, in order to jump it, then
| | 00:31 | go up to the Filter menu, choose the
Stylize command, and choose Find Edges. And
| | 00:36 | I have to say, it's as if this
command was designed with this technique in
| | 00:40 | mind, even though back in the days
when Find Edges was invented, you couldn't
| | 00:44 | create 3D type in a program, but it works
beautifully for this kind of hand drawn effect.
| | 00:49 | Now we do have a couple of problems.
| | 00:50 | One is that, while we have these
nice outlines around the letter forms
| | 00:54 | themselves, we have got some very
thin lines around the extruded sides.
| | 00:58 | We are also missing outlines
around the outermost letterforms.
| | 01:02 | To solve the first problem, that is, to
make those thin lines thicker, go ahead
| | 01:06 | and double-click on a Smart Object
thumbnail here inside the Layers panel.
| | 01:09 | Photoshop may bring up this warning
telling you how to save your changes.
| | 01:12 | Just go ahead and click OK in order
to bring up the 3D type inside of a
| | 01:16 | separate image window.
| | 01:17 | Then I want you to drop down to the
bottom of the Layers panel, Alt+click, or
| | 01:21 | Option+click, on that black/white icon,
and choose the Levels command in order to
| | 01:25 | bring up the New Layer dialog box.
| | 01:27 | Go ahead and call this new layer Contrast,
and click OK. And then I want you to go
| | 01:32 | ahead and raise the black point value
to 90, and Alt+drag, or Option+drag, this
| | 01:38 | white point slider triangle, like so. And
as you drag to the left, notice that you
| | 01:42 | reveal the whiteness of those letters.
| | 01:44 | It's actually a pretty cool effect.
| | 01:46 | I love the way you can
actually see a reveal on that.
| | 01:48 | A white point value of 230 works beautifully.
| | 01:51 | So again, the first value should be 90,
the third value should be to 230, the
| | 01:56 | midpoint value of 1.0 is just fine.
| | 01:57 | I am going to go ahead and double-
click to the right of the word Masks in
| | 02:01 | order to collapse my Adjustments panel
so I have a little more room to work.
| | 02:04 | And then I'll click close button up
there in the Title tab, and I'll click the
| | 02:08 | Yes button in order to save my
changes here in the PC; you would click the
| | 02:12 | Save button on the Mac.
| | 02:14 | Notice how we get some thicker edges there.
| | 02:16 | So I'll press Control+Z, Command+Z on the
Mac, so you can see those original, very
| | 02:19 | thin edges. Control+Z or Command+Z
again shows you the new thicker edges.
| | 02:25 | All right; now I want these lines to be
a little rougher, so I'm going to up to
| | 02:28 | the Filter menu. Choose the Distort
command, and choose Ripple. And again, you
| | 02:33 | can go your own way here if you like,
but I went ahead and set the Size option
| | 02:36 | to Large, and I lowered the Amount
value to 25%, so that we just have a little
| | 02:41 | bit of wiggle going on.
| | 02:42 | You will only see a preview of the
effect inside the dialog box, by the way.
| | 02:46 | Go ahead and click to see the effect
applied inside of the image window,
| | 02:49 | click the OK button.
| | 02:51 | Now, that's awfully darn wiggly, and
to my eye it looks a little bit fake,
| | 02:56 | because it's too regular.
| | 02:58 | So go over to the Layers panel, and
double-click in the Settings icon to the
| | 03:01 | right of the word Ripple.
| | 03:02 | That will bring up Blend Options
dialog box. Change the mode from Normal, to
| | 03:07 | Multiply, in order to burn the ripple effect
into the Find Edges effect in the background.
| | 03:12 | That'll give you even
thicker lines than you had before.
| | 03:15 | Then click on the OK button.
| | 03:17 | At this point we have an excellent
tracing around all of the edges of our type.
| | 03:21 | Now, you may notice there is a line
missing right there at the bottom of that A.
| | 03:25 | Notice that we should
have a line at this location.
| | 03:27 | If we are really hand-drawing,
we would add a line there.
| | 03:30 | The reason it's missing is because
Photoshop has nothing to trace, and that's
| | 03:34 | just a function of the angle at which I
set the type. And if you want to confirm
| | 03:37 | that, then go over to the Layers panel,
and change the blend mode from Normal, to
| | 03:40 | Multiply, and then you'll be able to
see through those outlines to the original
| | 03:44 | type in the background.
| | 03:45 | Now, we still have a pretty obvious problem.
| | 03:48 | We're missing some edges around the
outermost letterforms, and I'll show you how
| | 03:51 | to solve that problem in the next exercise.
| | Collapse this transcript |
| Restoring missing outlines| 00:01 | In this exercise, I'll show you how to
restore these missing edges around the
| | 00:04 | top of the H, and the A, and the N, and
around the side of the D, and over here
| | 00:08 | along the bottom N as well.
| | 00:10 | I have saved my changes as Traced
type effect.psd, found inside the 02_drawn
| | 00:14 | folder. And first of all, let me
show you why this is happening.
| | 00:18 | Basically, Photoshop has a problem
tracing between white and transparency,
| | 00:23 | so when in doubt, the Find Edges filter
reads white and transparency as the same thing.
| | 00:28 | So, one solution is to change the background.
| | 00:31 | I can double-click on the thumbnail for the
Smart Object, here inside the Layers panel.
| | 00:35 | If you get the alert message, go
ahead and click OK, then drop down to the
| | 00:38 | bottom of Layers panel, and click on the
little page icon to create a new layer
| | 00:41 | at the top of the stack.
| | 00:43 | Go to the Layer menu, choose New, and
choose Background From layer in order to
| | 00:47 | convert that new layer to a background image.
| | 00:49 | Notice it comes in as white by default,
and as I say, this is the way that Find Edges
| | 00:53 | filter already saw things.
| | 00:55 | Assuming that your foreground color is
black, go ahead and press Alt+Backspace,
| | 01:00 | or Option+Delete, to fill the layer with black.
| | 01:02 | Then go ahead and close the Smart
Object by clicking in the close box, and
| | 01:06 | selecting the Yes button here in
the PC, or the Save button on the Mac.
| | 01:10 | Now, it's hard to tell that Photoshop
has traced the image while we are seeing
| | 01:13 | this hand drawn layer, so go ahead and
turn it off, and you'll now see that the
| | 01:17 | layers are beautifully traced.
| | 01:19 | So, every single edge is traced
exactly the way it needs to be.
| | 01:22 | The problem is, this is a static way to
approach things, because after all, we now
| | 01:26 | have blackness in the background.
| | 01:28 | We don't have transparency, and we are going to
need transparency for some of our future steps.
| | 01:33 | So I am going to press Control+Z, or Command+
Z on the Mac, to undo that latest change.
| | 01:37 | The better approach, in my
estimation, is to apply a layer effect.
| | 01:42 | So drop down to the fX icon at the
bottom of Layers panel, and the most obvious
| | 01:46 | solution for tracing the outline of a
layer is to apply the Stroke command.
| | 01:50 | So go ahead and choose Stroke. Make sure
that the Color is set to black, as it is
| | 01:54 | by default. And then go ahead and take
the size value, let's say, down to 2 pixels,
| | 01:59 | and notice that we have a very thick
edge over here on the bottom left side of
| | 02:05 | the letters, and a pretty thin edge
over here on the upper right-hand side, and
| | 02:09 | that's because we're tracing
around the outside of the layer.
| | 02:11 | If you switch this option to Inside, then
you'll create a more uniform tracing effect.
| | 02:16 | Problem is, from my perspective, we end
up getting a pretty harsh outline here.
| | 02:21 | It's a little bit jagged, and if you
ever notice that about your strokes
| | 02:26 | inside of Photoshop, go ahead and
turn off the Stroke check box, and turn on
| | 02:30 | Inner Glow instead.
| | 02:32 | Inner Glow essentially gives you an
inside trace, however you have more control
| | 02:36 | over the smoothness of that outline. But
of course, by default, you end up getting
| | 02:40 | a Glow effect; that's not what we want.
| | 02:42 | So click on the yellow color swatch there, and
reduce the brightness value to 0, then click OK.
| | 02:47 | That'll give us black, but we are
applying the Screen Blend Mode, so black
| | 02:51 | automatically drops out.
| | 02:52 | You can make the black
visible again by selecting Normal.
| | 02:56 | Next we need to go ahead and raise
that Opacity value all the way to 100%, and
| | 03:00 | take this Choke value all the way up
to 100% as well, and notice that ends up
| | 03:06 | giving us a nice sharp outline.
| | 03:07 | It's way too thick, so go ahead and
take the Size value down to 2 pixels.
| | 03:12 | Now, that's delivering an identical
result to what we saw when we applied stroke.
| | 03:15 | In other words, we are getting some jagged edges.
| | 03:18 | If you want to smooth things out, go
ahead and take that Choke value down to
| | 03:22 | someplace around 70%, and then take the
Size value up to 3, and that will give you
| | 03:28 | a much smoother outline, as you can see.
| | 03:30 | Then go ahead and click the OK
button in order to apply that effect.
| | 03:33 | All right, I am going to go ahead
and zoom out by pressing Control+0, or
| | 03:37 | Command+0 on the Mac.
| | 03:38 | That's our effect so far.
| | 03:40 | In the next exercise, I am going to show
you how to trace the clouds, so both the
| | 03:43 | type and its environment match.
| | Collapse this transcript |
| Tracing a photographic background| 00:00 | In this exercise, I am going to
show you have to trace the clouds so that the
| | 00:04 | background and the 3D type
in the foreground match.
| | 00:07 | I've saved my progress as All outlines
traced.psd, found inside the O2_drawn folder.
| | 00:13 | I'd like you to go ahead and click on the
clouds layer here inside the Layers panel.
| | 00:16 | Incidentally, this image comes to us
from the Fotolia Image Library, about which
| | 00:20 | you can learn more at fotolia.com/deke.
| | 00:23 | We need to create a copy of this layer,
so press Control+J, or Command+J on a Mac.
| | 00:28 | Now, we are going to be tracing
this layer using a combination of four
| | 00:31 | different smart filters.
| | 00:32 | So we need to convert the
layer into a Smart Object.
| | 00:35 | Go up to the Layers panel flyout
menu, then choose Convert to Smart Object.
| | 00:39 | Now, because this is a continuous
tone photograph, we need to take a very
| | 00:43 | different approach then we took to
tracing the letters, and we'll start by
| | 00:46 | smoothing out the outlines.
| | 00:48 | Go up to the Filter menu, choose the
Blur command, and then choose Gaussian Blur.
| | 00:53 | Inside the Gaussian Blur dialog box,
enter a Radius of 1 pixel, and click OK.
| | 00:59 | Now that blurs the outline
so we can get thicker strokes.
| | 01:02 | However, we also need to simplify the
image a little, and the best way to do that
| | 01:06 | where this particular effect is
concerned is to go up to the Filter menu, choose
| | 01:10 | Blur, and then choose Smart Blur.
| | 01:13 | Not my favorite command in all of
Photoshop, but it works well for this effect.
| | 01:17 | Change the Threshold to 10;
| | 01:18 | change the Quality setting to
High, and the mode to normal.
| | 01:22 | Then click OK in order to apply that effect.
| | 01:25 | Now we need to define the edges, and you
do that by going up to the Filter menu,
| | 01:30 | choosing Other, and
choosing the High Pass command.
| | 01:32 | Now, if you are not familiar with this
command, what it does is it changes all
| | 01:36 | the non-edges in the image to gray, and
it leaves the edges more or less intact.
| | 01:41 | They go a little bit gray as well,
| | 01:43 | but you can see that they're hanging on.
We've got some dark edges on one side
| | 01:46 | of the cloud, and some light edges on the other.
| | 01:49 | For this image, I'd like you to change the
Radius value to 3 pixels, and then click OK.
| | 01:54 | And then finally, we need to make all
of the edges, whether light or dark, we
| | 01:57 | need to make them dark, and then we
need to make the non-edges white, and you do
| | 02:02 | that by applying a sketch
filter called note paper.
| | 02:05 | Now, the sketch filters rely on the
foreground and background colors.
| | 02:08 | So go ahead and press the D key in
order to confirm that your foreground color
| | 02:12 | is black, and your background color is white.
| | 02:15 | Then go up to the Filter menu,
choose Sketch, and choose Note Paper.
| | 02:19 | Inside the gallery filter dialog box,
go ahead and scroll the image to more or
| | 02:23 | less the top center, and I'll go ahead
and take the Image Balance value up to its
| | 02:27 | default setting of 25.
| | 02:29 | By the way, both Graininess and Relief
should be set to zero for this particular effect.
| | 02:34 | Notice when I've got an image balance
of 25, I have this little diagonal line
| | 02:38 | right there, top center in the image, and
what's happening is Photoshop is tracing
| | 02:42 | one of the sunrays
inside that clouds photograph.
| | 02:46 | We can get rid of that little diagonal
line by taking the image Balance value
| | 02:50 | down to 24; these values right here.
| | 02:51 | So again, 24, 0, and 0, and then click OK
in order to apply that setting; in order
| | 02:57 | to achieve this effect.
| | 02:58 | Now, the Note Paper filter delivers
these sort of black and gray results.
| | 03:03 | We need something more
closely resembling black and white.
| | 03:06 | So with this new clouds layer selected --
and I am going to go ahead and rename it,
| | 03:09 | by the way; outlines, because that's what
it is. And I am also going to get rid of
| | 03:13 | some of this clutter here
| | 03:14 | by right-clicking on this empty
filter mask thumbnail, and choosing Delete
| | 03:17 | Filter Mask. I am going to do the
same thing for the filter mask associated
| | 03:21 | with the hand drawn layer, so I'll
go ahead and right-click on it, choose
| | 03:24 | Delete Filter mask.
| | 03:25 | You don't have to do that, by the way.
However, those darn filter masks do
| | 03:28 | take up a ton of room.
| | 03:30 | Anyway, I am going to click on
the outlines layer once again.
| | 03:32 | Then I'll press the Alt key, or the
Option key on the Mac, click the black/white
| | 03:36 | icon at the bottom of the Layers panel,
choose Levels, and once again call this
| | 03:40 | levels layer contrast.
| | 03:42 | This time I am going to turn on the Use
Previous layer to Create Clipping Mask
| | 03:46 | check box, and click OK.
| | 03:48 | Then go ahead and take this black point
value up to about 175, does the trick.
| | 03:54 | You can see the black point
value first and foremost there.
| | 03:57 | And then I am going to go ahead and
double-click to the right of the word Masks
| | 04:00 | in order to collapse the Adjustments panel.
| | 04:02 | And now, once again, click on the
outlines layer to make it active, and let's go
| | 04:05 | ahead and change the Blend mode from
Normal, to Multiply, so that we drop out the
| | 04:10 | whites, and trace the clouds
with those black outlines.
| | 04:13 | The result is a series of outlines
in the foreground and the background
| | 04:17 | that very closely match.
| | 04:19 | In the next exercise, I'll show you how
to better integrate the shading around
| | 04:23 | the extrusion of the letters so that
the foreground and background match each
| | 04:27 | other even better, as in the case
of this finished cartoon effect.
| | Collapse this transcript |
| Separating letters from the extruded sides| 00:00 | In this exercise, I'll show you how to
separate the extruded sides from the white
| | 00:04 | letterform faces, so we have a little
more flexibility to integrate the letters
| | 00:08 | with the background, as in the
case of this finished cartoon effect.
| | 00:12 | I've saved my progress as Outlined
clouds.psd, found inside the 02_drawn folder.
| | 00:18 | If you're working along with me, go
ahead and click on the bottom of the two
| | 00:21 | hand drawn layers right there, and let's
go ahead and rename this layer shading.
| | 00:25 | Now let's create another copy of the
layer, this time by pressing Control+Alt+J, or
| | 00:30 | Command+Option+J on the Mac, so that
we can name the layer as we create it.
| | 00:34 | And I want you to call this layer facemaker;
| | 00:37 | it will make more sense when we create
our glory type variation, but for now,
| | 00:41 | just go ahead and accept that name, and click OK.
| | 00:44 | Now what I would like you to do is
turn off the shading layer for a moment,
| | 00:47 | double-click on an empty portion of
the facemaker layer in order to bring up
| | 00:50 | the Layer Style dialog box, and now
let's drop away everything but the white
| | 00:55 | letterforms by dragging the black
triangle under the This layer slider all the
| | 01:00 | way over to 200. And that will tell
Photoshop to make anything with a Luminance
| | 01:04 | level of 200 or darker transparent, as
we're seeing here in the background, and
| | 01:09 | keep just the lightest luminance
levels, which include the white letters.
| | 01:13 | Then go ahead and click OK in
order to accept that effect.
| | 01:16 | Now drop down to the shading
layer, turn it back on, and I want you to
| | 01:21 | double-click on an empty
portion of that layer as well.
| | 01:24 | Let's change the Blend Mode from this
layer from Normal, to Linear Burn, which
| | 01:28 | will darken up the background significantly.
Too much, in fact, but it's a good place to start.
| | 01:33 | Then I want you to take the Fill
Opacity value, not the normal Opacity value,
| | 01:37 | but Fill Opacity, down to 85%. And the
reason we're adjusting Fill Opacity instead
| | 01:43 | of Opacity is because these values
differently effect several of the blend
| | 01:48 | modes; eight of the blend modes in
all, and one of them is Linear Burn.
| | 01:52 | So we're going to get a better effect
at a Fill Opacity than we would Opacity,
| | 01:56 | where this blend mode is concerned.
| | 01:58 | Now I want you to drag the white
triangle under the This layer slider until the
| | 02:02 | value above your cursor changes to
175, and now go ahead and drop out the
| | 02:07 | lightest luminance level.
| | 02:08 | So in other words, we're no longer
seeing the white faces. And now I want you to
| | 02:13 | press the Alt key, or the Option key on
the Mac, and drag the left half of that
| | 02:17 | white triangle until that first value,
the one before the slash, changes to 50,
| | 02:22 | and you'll end up with this effect here.
| | 02:25 | Then go ahead and click OK in
order to apply that modification.
| | 02:28 | Now I just want you to see that these two
layers control different aspects of the letters.
| | 02:33 | So if I go ahead and turn off the
hand drawn layer to hide those outlines,
| | 02:37 | and then I turn off the shading layer, you'll
see that we just have the white letterforms.
| | 02:42 | If I turn shading on, and facemaker off,
you'll see that layer contains just
| | 02:47 | the extruded edges, and that means that we
can modify them independently of each other.
| | 02:50 | So I'm going to turn facemaker
back on; also turn hand drawn back on.
| | 02:55 | The great thing about this, of course,
is we're not seeing through the opaque
| | 02:58 | letters, but we are seeing
through those translucent extrusions.
| | 03:02 | Now let's say I want to change
the color of those extruded sides.
| | 03:05 | Make sure the shading layer is active,
drop down to the fx icon, and choose
| | 03:09 | Color Overlay. And let's start up by
changing the Blend Mode from Normal, to Color,
| | 03:14 | and you'll see that we're coloring
the extruded sides, and nothing else.
| | 03:17 | It turns out, I don't want those sides to be
red, so I'll click on the red color swatch.
| | 03:22 | Now I will go ahead and dial in a
custom color by changing the hue value, that H
| | 03:25 | value there, to 50 degrees, and then I'll
change the saturation value to 50%, the
| | 03:30 | brightness value should be 100, then go
ahead and click OK, and click OK again in
| | 03:35 | order to exit the Layer Style dialog box.
| | 03:38 | And that's the final cartoon effect.
| | 03:40 | Now let's go ahead and save it out as
layer Comp by going up to the Window menu,
| | 03:45 | and choosing the Layer Comps command.
| | 03:47 | That brings up the Layer Comps panel.
| | 03:49 | The idea is that we're going to be
building that glory type variation inside
| | 03:52 | this very same file.
| | 03:54 | So by creating a layer Comp now, we save
this particular version in case we want
| | 03:58 | to come back to it, and you do so by
clicking on the little page icon at the
| | 04:02 | bottom of the Layer Comps panel.
| | 04:04 | I want you to make sure that the
Visibility check box is turned on;
| | 04:07 | also turn on the Appearance check box,
leave Position turned off, and let's go
| | 04:11 | ahead and call this Cartoon letters, and
then click OK in order to save out this
| | 04:16 | version of the artwork.
| | 04:17 | Then hide the Layer Comps panel.
| | 04:20 | In the next exercise, I'll show you how
to convert this cartoon effect to what
| | 04:24 | I'm calling the glory type effect.
| | 04:26 | Stay tuned!
| | Collapse this transcript |
| Turning a cartoon into "glory type"| 00:00 | In this exercise, I'll show you how to
convert the cartoon letters that we've
| | 00:03 | created so far into the glory type effect.
| | 00:06 | I've saved my progress as Cartoon
letters.psd, found inside the 02_drawn folder.
| | 00:11 | I'd like you to scroll down to the
bottom of the Layers panel and Alt+click,
| | 00:14 | or Option+click, the eyeball in front
of the Background in order to hide all
| | 00:19 | but the Background image.
| | 00:20 | Then click on that Background in
order to select it. And assuming that your
| | 00:23 | foreground and background colors
are black and white respectively,
| | 00:26 | press Alt+Backspace, or Option+
Delete on a Mac, in order to fill the
| | 00:30 | background with black.
| | 00:32 | Then scroll your way up the list, and turn
on the facemaker layer to make it active.
| | 00:36 | You should see white letters
against the black background.
| | 00:39 | Now switch over to the Channels panel
and press the Control key, or the Command key
| | 00:43 | on the Mac, and click on any of the
Channels, either the RGB composite, or Red,
| | 00:48 | Green, or Blue, in order to select the
letters, and deselect the Background.
| | 00:53 | Now switch back to the Layers panel.
| | 00:55 | In order to reconstruct the image, go
up to the Window menu, and choose the
| | 00:58 | Layer Comps command.
| | 01:00 | That'll bring up the Layer Comps panel,
and then click in this box in front of
| | 01:04 | Cartoon letters, and that'll go ahead
and reinstate that layer Comp, so you can
| | 01:08 | see how useful these things can be.
| | 01:10 | Now click on the facemaker layer to
make it active here inside the Layers panel,
| | 01:14 | and turn it off. And we're going to
recreate those white letters using the
| | 01:18 | selection by pressing Control+Shift+N, or
Command+Shift+N on the Mac, which brings up
| | 01:23 | the New Layer dialog box. And let's call
this new layer glow, and then click OK.
| | 01:29 | Once again, assuming your background
color is white, press Control+Backspace, or
| | 01:32 | Command+Delete on the Mac, in order to
fill the selected letters with white.
| | 01:36 | Now you can press Control+D, or Command+D on the
Mac, in order to deselect the image. All right!
| | 01:41 | Now it's a fairly routine
matter to create that glow.
| | 01:44 | Drop down to the fx icon at the bottom
of the Layers panel, and choose Outer Glow
| | 01:48 | to bring up the Layer Style dialog box.
| | 01:50 | Crank the Opacity value up to 100%, and
then take that Size value all the way up
| | 01:55 | to its maximum, which is 250 pixels.
| | 01:59 | Finally, click on that little yellow
color swatch, and let's go ahead and
| | 02:03 | slightly adjust this color by reducing the hue
value from its default setting of 60 degrees, to 50 degrees.
| | 02:09 | A saturation value of 25%, and a
brightness value of 100%, are just fine. Now
| | 02:14 | click OK, and click OK again in
order to exit the dialog box.
| | 02:18 | Finally, once again, scroll to
the bottom of the Layers panel.
| | 02:21 | Click on the clouds layer, and let's
darken those clouds for the sake of contrast
| | 02:26 | by changing the blend mode from Normal,
to Hard Light, and that'll go ahead and
| | 02:30 | burn those clouds into the black background.
| | 02:32 | So you can see just how versatile this
hand drawn type composition is. All right!
| | 02:37 | Just so that we can switch back and
forth between the two versions of the image,
| | 02:41 | let's save out a layer comp by, once
again, going up to the Window menu, and
| | 02:44 | choosing the Layer Comps command.
| | 02:46 | Then here in the Layer Comps panel,
click on the little page icon to bring up
| | 02:50 | the New Layer Comp dialog box.
| | 02:52 | Let's call this Glory type, and make
sure both the Visibility and Appearance
| | 02:56 | check boxes are turned on, then click OK.
| | 02:59 | Now you can switch between these two
versions of the image as simply as clicking
| | 03:03 | on one of these arrow icons.
| | 03:05 | So if I click on this right pointing
arrow icon, for example, I'll switch back
| | 03:09 | to Cartoon letters. Click again, and
that switches me back to Glory type, and
| | 03:13 | that's all it takes.
| | 03:14 | So we've created the first two
versions of our hand drawn 3D type effect.
| | 03:19 | In the next exercise, we'll take on the
third as I show you how to create this
| | 03:23 | dramatic neon effect.
| | Collapse this transcript |
| Making a hand-drawn neon effect| 00:00 | In this exercise, I will show you how to
take that hand drawn 3D type effect, and
| | 00:05 | convert it into the neon effect you see here.
| | 00:07 | We'll be starting inside this file
called Lightning comp.psd. It's found inside
| | 00:11 | the 02_drawn folder, and it features that
original outline version of the 3D type
| | 00:17 | set against the clouds background.
| | 00:18 | But if you turn off the clouds layer
here inside the Layers panel, you'll see
| | 00:22 | that there's a lightning image, also from
the Fotolia Image Library, lying in wait
| | 00:26 | at the bottom of the stack.
| | 00:28 | Now for starters, make sure that
the hand drawn layer is selected here
| | 00:31 | inside the Layers panel.
| | 00:32 | Then go up to the Filter menu,
choose Artistic, and choose Neon Glow.
| | 00:37 | I will go ahead and center the type
here inside my image preview, and I've
| | 00:41 | already entered the
settings that I am looking for.
| | 00:43 | That is to say, I've increased Glow
Size to 7, and I've taken the Glow
| | 00:46 | Brightness up to 20.
| | 00:48 | By default, the color is blue,
which is a good match to our lightning.
| | 00:52 | So go ahead and click OK in
order to apply this effect.
| | 00:55 | Now, it already looks pretty
darn good, but here is the problem.
| | 00:59 | I will go ahead and zoom in
on my text a little bit here.
| | 01:02 | Notice that we have a continuous neon
effect stroking all of the outlines inside
| | 01:07 | of the letters, except right along the top.
| | 01:11 | Again, we have some problems along
the top outside letters, and it's most
| | 01:14 | noticeable up here at the top of the H.
We're just losing the neon effect entirely.
| | 01:19 | So here's the way to solve that problem.
| | 01:21 | I will go ahead and zoom back out, and
I will double-click on the thumbnail for
| | 01:25 | the Smart Object here inside the Layers panel.
| | 01:27 | If you get the alert message, just click OK.
| | 01:29 | Now, if you're working along with me
inside the Smart Object, go ahead and click
| | 01:33 | on the high contrast layer, which is the
top layer in this two layer stack, and
| | 01:37 | then click on little page icon at the bottom of
the Layers panel to create a new unnamed layer.
| | 01:42 | Then go up to Layer menu, choose New,
and choose Background From layer to send
| | 01:47 | it to the bottom of the stack.
| | 01:49 | Assuming that your foreground
color is black, press Alt+Backspace, or
| | 01:52 | Option+Delete, in order to fill
that background with black, like so.
| | 01:56 | Then go up to the File menu and choose
the Save command, or you can press Control+S,
| | 02:02 | or Command+S on the Mac.
| | 02:03 | Now if I switch back to my composition
in progress, I will see a uniform amount
| | 02:07 | of neon glow around each and
every one of these strokes.
| | 02:10 | The big problem, of course, is that the
black outside the letters is covering up
| | 02:14 | the lightning background.
| | 02:16 | So I need to make a change at this point.
| | 02:17 | Now the first thing you need to do is
to turn off the Inner Glow, because it's
| | 02:21 | no longer serving a purpose.
| | 02:22 | Be sure to click the eyeball in front
of the words Inner Glow, not the eyeball
| | 02:26 | in front of Effects.
| | 02:27 | We want that eye still turned on.
| | 02:29 | Now what we need to do is create a mask
around the letters, and we can do that by
| | 02:34 | lifting the selection outline that's
associated with that 3D object inside of
| | 02:39 | the Smart Object, which is why I left it open.
| | 02:41 | So I'll go ahead and switch back to
that Smart Object, which in my case is
| | 02:44 | called hand drawn11.psb;
| | 02:47 | it maybe called something
slightly different for you.
| | 02:50 | Then you should be able to lift the
selection outline just by Control+Clicking, or
| | 02:54 | Command+Clicking, on that 3D object.
| | 02:57 | But in my case, I get this wonky result.
| | 03:00 | This maybe the correct selection outline,
but for some darn reason it's out of
| | 03:04 | register, and this happens
sometimes with 3D objects.
| | 03:08 | You try to lift the transparency mask as a
selection outline, and something goes wrong.
| | 03:12 | If that ever happens to you,
here's the surefire solution.
| | 03:15 | Go ahead and press Control+D, or Command+D
on a Mac, to deselect the image. Then I
| | 03:19 | want you to press and hold the Alt key,
or the Option key on the Mac, and drag
| | 03:24 | that hand drawn layer all the
way to the top of the stack.
| | 03:28 | You should see a horizontal black bar
there at the top of the Layers panel, and
| | 03:31 | your cursor should look like a double-arrow;
| | 03:33 | a black arrow and a white arrow showing
you that you're going to clone that layer.
| | 03:37 | Now you can release the Alt or Option
key, right-click in an empty portion of
| | 03:41 | that layer, and choose the final
command from the shortcut menu: Rasterize 3D.
| | 03:45 | That will go ahead and rasterize that artwork.
| | 03:48 | Now press and hold the Control key, or the
Command key on the Mac, and click that
| | 03:51 | layer thumbnail, and you get an
absolutely accurate selection outline.
| | 03:56 | Now we need to take the selection
outline, and turn it into a layer mask in a
| | 03:59 | totally different image.
| | 04:01 | Here's how you do that.
| | 04:02 | Go up to the Select menu;
choose the Save Selection command.
| | 04:05 | Here, inside the Save Selection
dialog box, change the Document setting to
| | 04:09 | Lightning comp, which is the image
that we are working on, and change the
| | 04:13 | Channel setting from New, to
hand drawn Mask. Then click OK;
| | 04:17 | that's all you do.
| | 04:19 | If you want to make sure
everything worked, then switch back to that
| | 04:22 | Lightning comp.psd image, and you
will see that the active layer now has a
| | 04:26 | layer mask assigned to it.
All right.
| | 04:28 | Now let's switch back to the Smart
Object, and close it. And here's the thing:
| | 04:32 | because we made a temporary
modification that we don't need, we don't actually
| | 04:36 | want to save these changes.
| | 04:37 | So click the No button here on the PC,
or the Don't save button on the Mac, and
| | 04:42 | that will return you to
the composition in progress.
| | 04:44 | So the result is an accurately
masked neon effect.
| | 04:48 | But in masking the letters, we've also managed
to mask away the neon outside of the letters.
| | 04:53 | We've also masked into the
perimeter outlines a little too tightly.
| | 04:56 | I will show you how to resolve both
those issues in the next exercise.
| | Collapse this transcript |
| Changing glow, mask, and color| 00:00 | All right, so we've managed to mask our
3D letters, but we're still a few steps
| | 00:04 | away from achieving our final neon effect.
Permit me to show you those remaining
| | 00:08 | steps in this exercise.
| | 00:10 | I've saved my progress as Masked neon
letters.psd, found inside the 02_drawn folder.
| | 00:15 | And the first thing we're going
to do is add a basic outer glow.
| | 00:19 | So make sure that top layer is
selected, then click the fX icon, and choose
| | 00:23 | the Outer Glow command.
| | 00:24 | Click on the yellow color swatch, and
then go ahead and change the saturation
| | 00:28 | value to 0%, the brightness value
should be 100%. That will give you absolute
| | 00:32 | white; click OK. And take the Opacity
value up to 100%. I'm also going to change the
| | 00:38 | Size value to 25 pixels, like so.
| | 00:41 | Now, notice that gives us a very soft glow.
| | 00:45 | I want the glow to match the
sharpness and intensity of the lightning.
| | 00:48 | So I'm going to switch out the blend
mode from Screen, to Linear Dodge, and that
| | 00:52 | gives me this effect here.
| | 00:53 | All right, now I'll click the OK
button in order to apply that effect.
| | 00:57 | Now, if I zoom in, you will see that
we have this ongoing problem here.
| | 01:01 | Notice that the outlines of the
letters are just scalped away, and so we have
| | 01:05 | these very thin, straight outlines
around each one of the exterior letterforms,
| | 01:11 | and we also have some bleed from
the glow going into those letters.
| | 01:14 | So what we need to do is shift
our layer mask outward a little bit.
| | 01:18 | So I'll click on the layer mask
thumbnail here inside the Layers panel. Then go
| | 01:22 | up to the Select menu, and choose
Refine Mask, or you can press Control+Alt+R, or
| | 01:27 | Command+Option+R on the Mac.
| | 01:29 | Now go ahead and switch the View option
from On White, to On layers, which you can
| | 01:34 | also get by pressing the L key there.
And then I want you to raise the Feather
| | 01:39 | value to 2 pixels, and you can do that by
pressing Shift+up arrow twice. Then tab
| | 01:44 | ahead to the Shift Edge option,
and take that value up to 50%.
| | 01:47 | And that will go ahead and scoot the
perimeter of that mask outward, and it will
| | 01:52 | reveal the full thickness of those edges.
| | 01:54 | You'll also reveal a little bit of the
original blue neon effect, but that's all
| | 01:59 | right, though, because it transitions
smoothly into the white outer glow.
| | 02:03 | So go ahead and click OK in
order to accept that modification.
| | 02:06 | All right, I'm going to press Control+0, or
Command+0 on the Mac, in order to zoom out.
| | 02:11 | Now, the final thing I decided to
do was switch out the color scheme.
| | 02:15 | I like this blue effect, but I
like this final red effect even more.
| | 02:19 | So I'll switch back to the composition.
| | 02:21 | Let's go ahead and modify the Neon
Glow effect just by double-clicking on its
| | 02:25 | Smart Filter there inside the Layers
panel, and that will again bring up the
| | 02:28 | filter gallery dialog box.
| | 02:30 | Click on the Glow Color swatch in order
to bring up the color picker, and change
| | 02:34 | the hue value to 0 degrees. So you
should see hue of 0, saturation 100,
| | 02:39 | brightness 100 as well. That gives you
a vivid red, click OK, and then click OK
| | 02:44 | again in order to apply that effect.
| | 02:46 | Now obviously, the letters no
longer match the background.
| | 02:49 | So click on the lightning layer in
order to select it, and let's colorize that
| | 02:52 | layer by clicking on the fX icon down
here at the bottom of the Layers pane, and
| | 02:57 | choosing the Color Overlay command.
| | 02:59 | By default, the color is set to red. If
you've somehow modified that default setting,
| | 03:03 | then go ahead and click on the
color swatch, and dial in these values.
| | 03:06 | A hue of 0, saturation of 100, and
brightness value of 100%, as well; that same
| | 03:11 | red we dialed in to the Neon Glow filter.
click OK, and then change the blend
| | 03:16 | mode from Normal, to Hue.
| | 03:18 | And that will go ahead and switch all
of the hues in the lightning layer to red,
| | 03:22 | while maintaining the original
saturation and luminance values.
| | 03:26 | Then click OK in order to apply that
effect, and the result is the final eye
| | 03:30 | catching, hand drawn Neon Effect
here inside Photoshop extended.
| | Collapse this transcript |
| Modifying your hand-drawn 3D text| 00:00 | All right, so I've been going on about
how flexible these compositions are.
| | 00:04 | In this exercise, I want to show you
just how easy it is to altogether modify
| | 00:09 | the angle and orientation of your type.
| | 00:11 | So we are going to start with that
cartoon effect we created a few exercises
| | 00:14 | back, and we are going to change the
length of extrusion, and the angle of the
| | 00:18 | type, in order to get this effect here,
and we will do so in one big operation.
| | 00:23 | I am going to go ahead and
scroll to the top of the list here.
| | 00:26 | If you're working along with me, I want
you to double-click on any of these Smart
| | 00:30 | Object layers: either hand drawn, or
facemaker, or shading. It doesn't matter which
| | 00:34 | one; they'll all bring up that same 3D type.
| | 00:37 | I'll go ahead and double-click on the
thumbnail for the facemaker layer, I get
| | 00:40 | the alert message, I'll click OK, and then I
am going to go ahead and zoom in on my type.
| | 00:44 | I'll double-click on the 3D type layer
in order to bring up the 3D panel, and
| | 00:48 | because I want to modify this text
pretty considerably, and I don't want to sit around
| | 00:51 | and re-render the type over and over again,
I am going to change the quality back
| | 00:55 | to Interactive (Painting),
| | 00:57 | so I can get a little bit of work done.
| | 00:58 | Now, to really be able to tell what I'm
doing, I need to see the clouds in the
| | 01:02 | background, just for the sake of
alignment, so I am going to switch back to my
| | 01:06 | composition, and I'm going to scroll to
the bottom of the list. Right-click on
| | 01:09 | that clouds layer, and choose Duplicate
layer to bring up the Duplicate layer
| | 01:13 | dialog box, and I'll switch the
Document from Big blocks blue sky, to
| | 01:17 | handdrawn1.psp, which is my Smart Object.
| | 01:21 | Now I'll go ahead and click OK, and I'll switch
back to the Smart Object, and let's take
| | 01:24 | that clouds image and drag it to
the bottom of the stack, like so.
| | 01:28 | I don't want the contrast layer, which
is that layer effect that's enhancing the
| | 01:32 | contrast of the letters,
| | 01:33 | I don't want it to affect the clouds as well.
| | 01:35 | So I'll press the Alt key, or the Option
key on the Mac, and click that horizontal
| | 01:38 | line between contrast and hand drawn
in order to clip the adjustment layer to
| | 01:42 | the 3D letters below.
| | 01:44 | Now I'll click on the 3D
letters, once again, to select them.
| | 01:47 | Here inside the 3D panel, I'll click on
the hand drawn mesh, and drop down to the
| | 01:50 | R icon, and click on it in order
once again bring up Repousse.
| | 01:55 | A moment or two later, when you see
the dialog box, go ahead and change the
| | 01:58 | depth value to its absolute maximum, which is
10, and then click OK to accept that effect.
| | 02:05 | All right; now we have
these very long extruded edges.
| | 02:08 | Let's go ahead modify the angle of the
text, again using the Camera tool, so that
| | 02:12 | we move the object and the lights together.
| | 02:14 | So go ahead and grab that Camera
Rotate tool, or whatever camera tool you see
| | 02:18 | down there, and then drag inside of the
image window to move that text around.
| | 02:23 | Now, I spent a fair amount of time
manually adjusting this text to figure out
| | 02:27 | the exact angle I was looking for.
| | 02:29 | To save you a little work,
I'll just dial in the values.
| | 02:32 | So assuming you're seeing the
orientation values, which you will see if you
| | 02:35 | have the Orbit tool selected up here
in the Options bar, go ahead and change
| | 02:39 | the X value to -66.
| | 02:40 | The Y value should be a mere 8.5, and
then the Z value should be -203. And press
| | 02:48 | the Enter key, or the Return key on
the Mac, in order to reorient that text.
| | 02:53 | Now click on the Pan tool, once again
in the Options bar, in order to see the
| | 02:56 | position values, and change the X value
to 1410, and the Y value to -1260, and the
| | 03:02 | Z value to -1140. And then press the
Enter key, or the Return key on the Mac, in
| | 03:07 | order to accept that camera position.
| | 03:09 | All right, now I am going to switch back
to my Rectangular Marquee tool, because
| | 03:12 | I'm done with my camera modifications.
| | 03:15 | Now, notice that we are losing some definition.
| | 03:18 | So, what I mean by that is the bottom
edge of this top A, and the inside edge, and
| | 03:23 | the bottom edge of the bar across the A,
as well as the bottom edge of the other
| | 03:26 | stem: they're all the exact same shade
of gray, and what that means is we will
| | 03:31 | not get any line definition in that
region. And the same thing goes for the other
| | 03:36 | A, and W, and this area
around the D, and R, and so forth.
| | 03:40 | What we need to do is adjust the lights.
| | 03:42 | The reason is not because somehow we
changed the object, vis-a-vis the lights;
| | 03:46 | we moved everything together.
| | 03:48 | It's just that from this angle we don't
have enough light filling in the details.
| | 03:52 | We will if we just go ahead and
turn on that default Infinite Light 2.
| | 03:56 | So go ahead and click in front of
Infinite Light 2 to turn it back on, click on
| | 03:59 | that light, and just confirm that
you have Create Shadows turned off.
| | 04:03 | That's very important.
| | 04:04 | Now click on Infinite Light 1, and I
want you to dial the Intensity down to
| | 04:09 | 0.5, and press the Enter key, or the Return
key on the Mac, in order to apply that change.
| | 04:14 | Now let's go ahead and render the scene
by clicking on the Scene option up here
| | 04:18 | at the top of the 3D panel, and
changing the quality from Interactive to Ray
| | 04:22 | Traced Draft. Again, because
there's no shadows to worry about,
| | 04:25 | this is a pretty quick operation.
| | 04:27 | Photoshop should be able to
re-render that text in less than a minute.
| | 04:30 | All right; we are done with the 3D panel
so go ahead and close it. And then switch
| | 04:34 | to that contrast layer there; double-
click on the layer thumbnail in order to
| | 04:38 | bring up the Adjustments panel.
| | 04:40 | We need to increase the
contrast of these letters further.
| | 04:43 | So take that black point value up to 100,
and then I'll Alt+Drag, or Option+Drag,
| | 04:49 | the white slider until I see that the
letters turn entirely white, which happens
| | 04:53 | around, it looks like for me, at
about 207, and that's all there is to it.
| | 04:57 | Now I am going to go ahead and collapse
that Adjustments panel, just so I have a
| | 05:00 | little more room. And I'll close this
Smart Object, and accept the changes, but
| | 05:04 | before I do, I want to make
sure I turned the clouds back off.
| | 05:08 | I was using the clouds for alignment
purposes, but I don't want them to actually
| | 05:11 | show up inside the Smart Object,
| | 05:13 | so turn off that clouds layer.
| | 05:15 | Then close the Smart Object, click the
Yes button on the PC, or the Save button
| | 05:19 | on the Mac, in order to apply your
changes, and the whole thing is done in one
| | 05:23 | operation. Just like that,
| | 05:25 | you have modified the entire composition.
| | 05:27 | So if you press Control+Z, or Command+Z
on the Mac; that's how it used to look.
| | 05:31 | Press Control+Z, or Command+Z on the
Mac, again; that's how it looks now.
| | 05:35 | At least that's how it looks now for
the cartoon type. But if you go up to the
| | 05:39 | Window menu, and you choose the Layer
Comps command, you'll see that you've got
| | 05:44 | those two layer comps still waiting for you.
| | 05:45 | If you click in front of Cartoon
letters, it looks great. No problems!
| | 05:49 | Click in front of Glory type, however,
and we've got a big problem. Because the
| | 05:53 | letters that are associated with the
Glow effect are static pixels, they did
| | 05:57 | not update automatically along with
our 3D modifications, so we will have to
| | 06:01 | update that later manually in
the next and final exercise.
| | Collapse this transcript |
| Updating static layers and masks| 00:00 | In this final exercise, I'll show
you how to fix static effects that are
| | 00:04 | associated with your dynamic
3D type effect modifications.
| | 00:08 | I have saved the results of the last
exercise as Goofy glory type.psd, found
| | 00:13 | inside the 02_drawn folder.
| | 00:15 | And the layer that's responsible for our
problems is the second layer down: glow.
| | 00:20 | And it's just a bunch of static pixels,
| | 00:22 | so we are going to have to remake that layer.
| | 00:24 | And we'll do so the same way
we made it in the first place.
| | 00:26 | That is, Alt+Click or Option+Click on
the eyeball in front of the Background
| | 00:30 | image, in order to hide all of the other layers.
| | 00:33 | And then scroll up the list until you find
the facemaker layer, and go ahead and turn it on.
| | 00:38 | Now switch over to the Channels panel,
and Control+Click, or Command+Click, on RGB, or
| | 00:44 | any of the other channels in the list,
in order to select the white letters, and
| | 00:48 | deselect the black background.
| | 00:50 | Now I will switch back to the Layers panel.
| | 00:52 | I need to restore the Glory type
version of the image, so I'll go up to the
| | 00:55 | Window menu, and choose the Layer Comps
command, and then I'll click in front of
| | 00:59 | Glory type to bring everybody back.
| | 01:01 | All right, now let's turn off
the glow layer in order to hide it.
| | 01:05 | And I'm going to click on the
facemaker layer to make it active. And I will
| | 01:09 | press Control+Shift+N, or Command+Shift+N on
the Mac, to bring up the New Layer dialog box.
| | 01:14 | I will call the layer new
glow, and I will click OK.
| | 01:17 | Then, assuming your background color is white,
| | 01:19 | press Control+Backspace, or Command+
Delete on the Mac, in order to fill the
| | 01:22 | selection with white. And then press
Control+D, or Command+D on the Mac, in order to
| | 01:27 | deselect the letters.
| | 01:28 | Now we need to reinstate the glow;
don't need to remake it, because it's already
| | 01:32 | sitting right there.
| | 01:33 | All you need to do is press the Option
key, or the Alt key on the Mac, and drag
| | 01:37 | Outer Glow from the glow layer,
onto the new glow layer, like so.
| | 01:41 | And because you had the Alt or Option
key down, you went ahead and duplicated
| | 01:44 | that effect, as opposed to moving it.
| | 01:46 | Now we just need to go ahead and
update the layer Comp, and you do that by
| | 01:50 | clicking on Glory type.
| | 01:51 | Make sure it's active.
| | 01:52 | Don't click in front of Glory
type; that will mess things up.
| | 01:55 | Just click on the Glory type comp,
and then click on the Update icon.
| | 01:59 | And now, we've got two comps
that we can switch between.
| | 02:02 | Let's go ahead and click on that
right arrow head to switch back to Cartoon
| | 02:04 | letters, and then click on that
arrow head again in order to switch back to the
| | 02:08 | final, updated Glory type effect.
| | 02:11 | Now, by the way, the same
thing goes for our neon effect.
| | 02:15 | So if I switch to the other image
I have opened here, which is called
| | 02:18 | Alternate neon.psd,
| | 02:20 | you'll see that I've gone ahead and
updated my 3D type in exactly the same way
| | 02:24 | I did in the previous exercise.
| | 02:26 | So I would have to go through those
same steps I did before to regenerate that
| | 02:30 | layer mask, and produce this
final, updated neon effect here.
| | 02:34 | And just in case you're wondering how
I was able to switch between those two
| | 02:37 | versions of the image, what I'm doing is I am
switching between layer comps from the keyboard.
| | 02:42 | You can check out those layer comps
by going to the Window menu, choosing
| | 02:45 | the Layer Comps command, and then swapping
back and forth between these two comps, like so.
| | 02:50 | There is the bad, old mask;
there is the good, new mask.
| | 02:52 | I am doing it from the keyboard using
a shortcut that's provided to you along
| | 02:56 | with dekeKeys, and it's Control+Shift+Alt+
F12; that's Command+Shift+Option+F12 on
| | 03:02 | the Mac, just so as you know.
| | 03:04 | In any event, now you know just a few
of the many, many ways to use hand drawn
| | 03:08 | 3D type here inside Photoshop Extended.
| | Collapse this transcript |
|
|
3. Long, Twisty I-Beam ExtrusionsMaking cable-length I-beam extrusions| 00:00 | In this chapter, I've got
a special treat for you.
| | 00:03 | I'm going to show you how to create
what I am calling 3D I-beam extrusions.
| | 00:07 | So you know the idea behind an I-beam, right?
| | 00:09 | It's essentially a beam in the shape
of the letter I, and the extrusion goes
| | 00:13 | out a long distance.
| | 00:14 | Well, we're going to do the same thing,
except you can extrude any letter that
| | 00:17 | you like, and those extrusions can
twist, and turn, and interact with each
| | 00:22 | other as well. And then finally, we'll set
all this text inside of this pattern of smoke.
| | 00:28 | The great thing about working with 3D
type inside of Photoshop is that you can
| | 00:31 | use the type to self-generate the masks,
and you won't believe how powerful this
| | 00:36 | is until you give it a try.
| | 00:38 | We're going to start things off
inside this image called Zap bang pow.psd.
| | 00:43 | It's found inside the 03_cables folder.
| | 00:45 | We have three words set in Cooper Black.
| | 00:48 | Now, Cooper Black is a pretty common
font, but I'm not sure if you have it
| | 00:51 | on your system or not.
| | 00:52 | So don't worry if you get a font error
when opening this file, because I've gone
| | 00:56 | ahead and converted every single
one of these lines to a shape layer.
| | 00:59 | We're going to start things off with the
zap layer, and even though it's the top
| | 01:04 | line of text, it's the bottom of the
three shape layers inside the Layers panel.
| | 01:08 | Go ahead and select it, and then go up to the 3D
menu, choose Repousse, and choose Layer Mask.
| | 01:14 | You may get that alert message telling
you that you'll no longer be able to edit
| | 01:17 | the shape layer as a
collection of path outlines.
| | 01:20 | Just go ahead and click the Yes button
to bring up the Repousse dialog box,
| | 01:24 | and then I want you to start things off for
this specific item by setting the Depth value to 5.
| | 01:29 | Now, there is no magic formulas going
on; this is all stuff I came up with
| | 01:32 | through trial and error.
| | 01:34 | Feel free, absolutely, to go your
own way if you want to experiment.
| | 01:38 | I then turned on the Shear option.
| | 01:40 | You can experiment with the Bend
option if you want to. You can also get some
| | 01:43 | cable effects using it; it's just that you
have a little bit better control, a little
| | 01:47 | more predictable outcome, if you work with Shear.
| | 01:50 | I am going to go ahead and set the X
Angle to 30, and then you have to press the
| | 01:53 | Tab key three times here on the PC to
get the Y Angle; it's just twice on the Mac.
| | 01:57 | You'd still think it'd just be once to
get over there, but that's the way it is.
| | 02:01 | Anyway, I am going to change the Y Angle to -50.
| | 02:04 | Something I want you to note:
| | 02:05 | if you take this Y Angle, or the X
Angle for that matter, all the way to -90,
| | 02:08 | you're going to end up flattening out
the extrusion so that it absolutely ends
| | 02:13 | up becoming a flat surface.
| | 02:15 | Don't want to do that,
so watch out for that one.
| | 02:17 | Anyway, I will take it to -50, and then
I am going to try out a very high Twist
| | 02:21 | value for this one of 180, because after
all, it is the top line of text, and its
| | 02:26 | extrusion; it's going to
appear in back of the other text.
| | 02:29 | All right, now, if we were working with
live editable text, then Photoshop would
| | 02:34 | go ahead and automatically cut the holes for me.
| | 02:36 | In other words, it would interpret the
subpath inside the A, and that subpath
| | 02:40 | inside the P, as holes, just as you would expect.
| | 02:43 | However, because we're working with shape
layers, Photoshop doesn't know what to do.
| | 02:47 | So even though these may look like holes,
they're actually just filled with gray.
| | 02:51 | What we need to do is change the
Type option from Inactive, to Hole.
| | 02:55 | Now, you will need to keep an
eye out for what happens here.
| | 02:58 | It looks like the hole inside the A
ended up becoming a hole, but the hole inside
| | 03:01 | the P didn't go anywhere.
| | 03:03 | So when you change this Type option,
you only change one of the holes, and
| | 03:08 | you've got to keep an eye out for which one.
| | 03:10 | Anyway, to change the other one, you go
ahead and select one of these tools down here.
| | 03:13 | I am going to go ahead and select the
Rotate tool; doesn't really matter which one.
| | 03:16 | Then I'll click on the hole inside
the A, just to confirm that it's a hole.
| | 03:20 | Notice that we see this heavy dotted outline.
| | 03:22 | I will look at the Type option, it is
set to Hole; great. Now I'll click on the
| | 03:26 | hole inside the P, drop down to the Type option,
| | 03:29 | it's set to Inactive; that's wrong.
| | 03:31 | So I'll go ahead and change it to Hole,
and now everything is ready to go.
| | 03:35 | All right; I click OK in
order to accept that effect.
| | 03:37 | Now this does pretty difficult to predict.
| | 03:39 | You might look at this and say, gosh Deke!
| | 03:41 | How in the world did you know that
these were the right settings, especially
| | 03:45 | given the fact that the end of the extrusion
doesn't really drop off the end of the canvas?
| | 03:50 | Again, these were just values I came up
with by playing around inside this image.
| | 03:55 | So you get a feel for how to work with these
options as you work inside your own artwork.
| | 03:59 | All right; now there is one
additional problem I didn't solve inside the
| | 04:03 | Repousse dialog box yet, because I want
you to see the problem before we solve it.
| | 04:07 | Notice that the extrusion is kind of clunky.
| | 04:10 | You can see these flat edges all over
the place here. So, we've got a little flat
| | 04:15 | edge above the surface of the Z, and
then down over on the upper right-hand
| | 04:19 | side, then another flat surface, and
another one, and so forth. And that's
| | 04:23 | because, ultimately, Photoshop is drawing
a bunch of vertices; 3D points that are
| | 04:27 | connected by these straight segments.
| | 04:29 | If you want to see how many points we
have in total, you could bring up the 3D
| | 04:33 | panel, and go ahead and click on the zap
mesh there, and you'll see that we have
| | 04:37 | a total of something like 36,000
vertices with 45,000 faces. And that ends up
| | 04:43 | delivering, believe it or not, even
though we have tens of thousands of different
| | 04:46 | points to work with here, we're not
getting completely smooth results.
| | 04:50 | So to make things smoother, go ahead
and make sure, again, that zap mesh is
| | 04:54 | selected, then drop down to the little R
icon near the bottom of the panel, then
| | 04:57 | click on it to bring up the
Repousse dialog box once again.
| | 05:01 | And what we want to do is we want to
change the Mesh Quality setting from Draft,
| | 05:04 | to Best, and now click OK.
| | 05:07 | And not only will you see that things
round off quite nicely here inside the
| | 05:11 | image window, but you'll also see
that we have many more vertices. All of a
| | 05:15 | sudden, the number of vertices
jumped up to 125,000. We have more than
| | 05:19 | 200,000 faces as well.
| | 05:21 | So, a lot more information for Photoshop
to work with, but you know what? That's
| | 05:26 | Photoshop's problem.
| | 05:27 | All that I care about is that I have
smoother and better results. All right.
| | 05:32 | So that takes care of the word zap.
| | 05:33 | In the next exercise,
we'll address bang and pow.
| | Collapse this transcript |
| Similarly extruding other type layers| 00:00 | All right, so far we've manage to apply
extrusion settings to one of the three words.
| | 00:04 | Now let's address the other two.
| | 00:06 | I've saved my progress as The extruded Zap
.psd, found inside the 03_cables folder.
| | 00:11 | If you're working along with me, go ahead
and select the bang layer, then go up to
| | 00:15 | the 3D menu, choose Repousse, and choose
Layer Mask. If you get the alert message,
| | 00:20 | go ahead and click the Yes button. Then
the first thing we should do inside the
| | 00:23 | Repousse dialog box is change
the Mesh Quality from Draft, to Best.
| | 00:28 | Next I want to go ahead and change the
Depth value to 6, and then turn on the
| | 00:32 | Shear radio button. I came up with an
X Angle value of -30, and a Y Angle of
| | 00:38 | -60, and then I went ahead and
changed the Twist value to 80.
| | 00:42 | Now, notice that we get these amazingly
smooth contours as a result of the Best
| | 00:46 | Mesh Quality setting.
| | 00:48 | Now this time around, we've got three
holes to worry about; two in the B, and
| | 00:51 | one in the A. Let's go ahead and change
that Type setting to Hole, and see which
| | 00:55 | one changes. And it looks like
Photoshop, once again, went ahead and grabbed the
| | 00:58 | hole inside the A.
| | 00:59 | So click on that Rotate tool under the
word Internal, and then click on one of
| | 01:03 | the holes in the B, change its type
from Inactive, to Hole, and then go ahead and
| | 01:07 | click on the other hole inside the B.
| | 01:09 | And it may take a moment for Photoshop
to catch up, so you have to wait for it, but
| | 01:13 | once it's ready to go, go ahead and
click on that hole, and then change the type
| | 01:17 | to Hole once again. And when the hole
changes, go ahead and click the OK button
| | 01:21 | in order to create that 3D object.
| | 01:23 | All right; the only layer left is pow, so
go ahead and click on it. And now go to
| | 01:27 | the 3D menu, choose Repousse, and
choose Layer Mask, click on the Yes button in
| | 01:31 | response to the alert message, and you
know what? This time around I am going to
| | 01:35 | go ahead and change my values before I
change to Mesh Quality, because that way
| | 01:39 | things will go heck of a lot quicker here.
| | 01:41 | I'll change the X Angle value to 30,
let's change the Y Angle value to -30, and
| | 01:46 | then I want the Twist value this time to be 100.
| | 01:48 | Now, this doesn't look right at all, and
that's because the Bend option is turned
| | 01:52 | on, so go ahead and click on Shear in
order to slant that extrusion downward.
| | 01:57 | We've got a two holes to worry about
this time; one in the P, one in the O. Lets
| | 02:00 | go ahead and change Type to Hole. That
goes ahead and gets the hole inside the
| | 02:03 | O, we need to grab the one inside the P
by clicking on this Rotate tool, clicking
| | 02:08 | on the hole inside the P, and
then changing its Type to Hole.
| | 02:11 | Notice how much more quickly things
went with the Mesh Quality set to Draft,
| | 02:15 | but nonetheless we do need Best, so go
ahead and change that setting accordingly,
| | 02:20 | and click the OK button in
order to establish that 3D object.
| | 02:23 | All right, now at this point we want all
three of these objects to interact with
| | 02:27 | each other, so we need to
combine them into a single scene.
| | 02:30 | With the pow layer selected, go ahead and
Shift+click on the bang layer to select
| | 02:34 | it as well, and then go to the 3D menu,
and choose Merge 3D layers, in order to
| | 02:39 | combine those two layers into a single 3D scene.
| | 02:42 | Now Shift+Click on the zap layer, in
order to select it as well, go back to a 3D
| | 02:46 | menu and choose Merge 3D layers again.
You may recall that you can only combine
| | 02:51 | two 3D layers at a time inside of
Photoshop. And that will result in a single
| | 02:55 | layer that, right now, is called zap.
| | 02:57 | Now we go ahead and rename that layer:
zap bang pow, because it does contain all
| | 03:02 | three of those words.
| | 03:04 | Now at this point, you may
look at the result and say, gosh Deke!
| | 03:06 | That looks absolutely terrible! Especially,
Vis-a-vis the final effect we're going
| | 03:11 | for, where zap is at one angle, bang is
at another, and a pow is at third, and all
| | 03:15 | the cable extrusions are
descending to the very bottom of the canvas.
| | 03:19 | Well, that's because we need to modify
the orientation, and position, and scale, of
| | 03:23 | every single one of these meshes, and
we'll do exactly that in the next exercise.
| | Collapse this transcript |
| Rotating, positioning, and scaling words| 00:00 | In this exercise, we're going to change
the orientation, position, and scale of
| | 00:05 | each one of the three meshes in our scene.
| | 00:07 | I've saved my progress as Single merged
scene.psd, found inside the 03_cables folder.
| | 00:13 | If you're working along with me, go
ahead and double-click on the thumbnail for
| | 00:16 | the zap bang pow layer
to bring up the 3D panel.
| | 00:19 | And notice that we've got a separate mesh,
this little barrel here indicates the
| | 00:23 | mesh for the word zap, bang, and -- though
we can't see it -- the word pow as well.
| | 00:28 | And the reason things are taking up so
much space is we're seeing each of the
| | 00:31 | five materials for each one of those meshes.
| | 00:34 | So go ahead and click those twirly
triangles in order to collapse each one of
| | 00:38 | the meshes, and let's start things off
with the word bang, since it's right
| | 00:41 | there in the middle.
| | 00:42 | It also happens to be the
easiest of the objects to position.
| | 00:45 | Now, the next thing you would do, if you
were creating this effect for yourself,
| | 00:49 | you would click on the Mesh tool, right
here; the third tool in the list, and
| | 00:53 | presumably you would start things
off with the 3D Mesh Rotate tool.
| | 00:57 | And with the bang mesh selected, you
would go ahead and drag inside the image
| | 01:01 | window in order to rotate that mesh in 3D space.
| | 01:05 | You could also work with the widget if you like.
| | 01:07 | However, I've come up with some
specific Orientation and Position values.
| | 01:11 | Now, you can choose to go your own way
if you want to, but if you want to get
| | 01:14 | exactly the same effect that I
created, then here is how it works.
| | 01:17 | Make sure you're seeing the Orientation
values, and change the X value to 2.5,
| | 01:22 | leave the Y value set to 0, and
then change the Z value to -20.5.
| | 01:28 | Now select the third tool in, which is
the Pan tool, and that gives you access
| | 01:31 | to the Position values.
| | 01:33 | And let's change the X value
to 125, and the Y value to -354.
| | 01:39 | And you can see, that brings the text
way forward, so that it's mostly in front
| | 01:44 | of the word pow; the W is kind of
cutting through the extrusion there.
| | 01:47 | And then finally, we'll lift the letter
slightly by changing the Z value to 11. All right!
| | 01:52 | Now let's take on that mostly hidden
word pow, there, by clicking on the pow mesh,
| | 01:56 | and I'd like you to start
things off by scaling this mesh.
| | 02:00 | And so go ahead and click on that
final tool in the Options bar, the one that
| | 02:04 | says Scale the Mesh when you hover over it.
| | 02:06 | And notice, if you hover over the cube
there inside of that 3D widget, it will
| | 02:10 | turn entirely yellow.
| | 02:12 | Go ahead and drag down, and that
will reduce the scale of this object.
| | 02:16 | And ultimately, I want to take
the size of the object down to 74%.
| | 02:21 | I managed to get it to 75%, as I
can see here in the Options bar.
| | 02:25 | If you want to round off
those values, you can try to.
| | 02:27 | They may not totally cooperate with you.
| | 02:29 | I'm going to change the X value to .74,
and the Y value to .74 as well, and then
| | 02:35 | finally, the Z value to .74.
| | 02:36 | Now, the if values end up rounding a little
bit up or down, that's par for the course;
| | 02:41 | don't worry about it. All right!
| | 02:43 | That takes care of the scaling.
| | 02:44 | Believe it or not, that's what we want,
even though now the word pow has become
| | 02:47 | so small that it's completely
retracted behind the word bang. That's okay;
| | 02:52 | we'll bring it forward in just a moment.
| | 02:53 | Start by clicking on the Rotate
tool, which is that first tool in the
| | 02:57 | Options bar, right next to the Home
icon, and that will give you access to
| | 03:01 | the Orientation values.
| | 03:02 | I want you to change the X value to 22,
the Y value to -3.5, and then we're
| | 03:09 | looking for a Z value of 23.5.
| | 03:12 | As you can see, for me, it rounded to 23.4;
| | 03:15 | again, that's not a problem.
Don't worry about that kind of stuff.
| | 03:18 | Then select the third tool in, the Pan
tool, to get access to the Position values.
| | 03:22 | I'm looking for an X value of 233,
so not too different than what it was.
| | 03:27 | We're going to bring the text
forward by changing the Y value to -40.
| | 03:32 | And then finally, I want to lift that text,
so I'm going to change the Z value to -180.
| | 03:37 | And that turns out to be exactly
where I want the word pow. All right!
| | 03:41 | Now, for more excitement, let's go
ahead and click on the word zap, here, in
| | 03:44 | order to make it active.
| | 03:45 | Now, it needs to be a lot bigger.
| | 03:47 | So what I'm going to do is scale the word
zap up, and then I'm going to send it backward.
| | 03:53 | And when you're entering values like
this, it's generally a good idea to start
| | 03:56 | with the Scale values first.
| | 03:58 | So I'm going to click on the Scale tool
up here in the Options bar, and then I'm
| | 04:02 | going to drag upward on that cube.
| | 04:03 | So I want to make sure the entire cube
turns yellow, and then drag up to about
| | 04:08 | here, let's say, and
that's not quite far enough.
| | 04:10 | You can see that I've scaled the mesh to 133%.
| | 04:14 | But I want it to be 142%, so I'm going
to change the X value to 1.42, and then
| | 04:20 | I'll change the Y value to 1.42 as well,
and then finally, change the Z value to 1.42.
| | 04:26 | Now click on the Rotate tool, so
that we gain access to the Orientation
| | 04:30 | values, change the X value to 14.5, leave the
Y value set to 0, and change the Z value to 24.
| | 04:37 | Now, I know this is fairly
tedious work, but we're almost done.
| | 04:41 | Go ahead and click on the Pan tool in
order to bring up the Position values.
| | 04:44 | Change the X value to -214, and we're
going to move that text way back by
| | 04:50 | changing the Y value to 1000.
| | 04:53 | And finally, I'd like you to change the Z
value, ever so slightly in my case, to 170.
| | 04:58 | All right!
| | 05:00 | So everything looks right as rain.
| | 05:01 | Now, if you ever want to get a sense
of what's going on, how your objects are
| | 05:05 | positioned relative to each other,
here's a trick that's worth bearing in mind.
| | 05:09 | I'm going to go ahead and hide the
3D panel for a moment, and I'm going to
| | 05:12 | switch to my Camera tool.
| | 05:13 | Specifically, I'm going to
grab my 3D Rotate Camera tool.
| | 05:17 | And then I'm going to drag upward
inside the image window, like so. And you can
| | 05:21 | see how far away each one of
the meshes is from the other one.
| | 05:26 | So if I go ahead and drag out from the
scene -- and notice that I'm dragging that
| | 05:30 | blue arrow head inside the widget, and
I'm dragging backward from it, because I'm
| | 05:35 | dragging my view away -- you can see
that bang and pow are very close to each
| | 05:39 | other, but zap is about a mile away.
| | 05:42 | It doesn't really matter; it's just
something to bear in mind when you're trying
| | 05:45 | to figure out how things are
casting shadows on to each other.
| | 05:48 | What really matters is how the scene looks
at the camera angle that you've selected.
| | 05:53 | And the camera angle that we were
using, by the way, was the default angle.
| | 05:57 | So go up to the View option here in
the Options bar, and choose Straight-on
| | 06:00 | Camera, and that will go ahead and
reestablish our original view of the scene.
| | 06:04 | In any case, so far, so good.
| | 06:06 | I'm going to go ahead and switch back
to my Rectangular Marquee tool, so I get
| | 06:10 | rid of the 3D folderol.
| | 06:12 | I want you to see -- I've still got the
Final cable type.psd image open here.
| | 06:16 | I want you to see that all of the
meshes are in place, but of course,
| | 06:21 | we're missing a lot.
| | 06:22 | For example, we are missing the
materials that we need to assign, both to the
| | 06:25 | faces of the letters, and to the cable
extrusions, and we're going to create and
| | 06:29 | apply those materials in the next exercise.
| | Collapse this transcript |
| Removing one texture and creating another| 00:00 | In this exercise, we're going to
define and apply our materials.
| | 00:04 | I've saved my changes as All meshes in
place.psd, found inside the 03_cables folder.
| | 00:09 | Now, to get to the materials, go ahead
and double-click on the thumbnail for
| | 00:12 | the zap bang pow layer to bring up the 3D
panel, and then twirl open one of the meshes.
| | 00:18 | I'm going to go ahead and start with zap.
| | 00:19 | Now, we're only concerned about the Front
Inflation Material, which is the letters
| | 00:23 | themselves, as well as the Extrusion Material.
| | 00:25 | We're not concerned about the Back
Inflation Material, which is out of sight,
| | 00:28 | down there beyond the bottom of the canvas.
| | 00:31 | And we haven't defined any beveled edges,
so we don't need to worry about those.
| | 00:33 | Let's start things off with
the Front Inflation Material.
| | 00:37 | If you drop down to the Diffuse
option, you'll see a little page icon.
| | 00:40 | Go ahead and click on it, and choose Open
Texture, and that will show you the word zap.
| | 00:45 | So Photoshop has automatically applied
the word ZAP as its own diffuse texture,
| | 00:50 | which really, between you and
me, doesn't make a lick of sense.
| | 00:52 | It can be sometimes useful if you're
trying to create effects, for example, you
| | 00:57 | want to outline the interior of the
letters or something along those lines, and
| | 01:00 | you want to ensure exact registration. We're
not going to be doing anything like that, however.
| | 01:04 | So just go ahead and close that diffuse texture.
| | 01:07 | And in fact, let's clean things
up by getting rid of these guys.
| | 01:10 | So click on the little page icon, and
choose Remove Texture in order to remove
| | 01:15 | that white word zap.
| | 01:16 | And as a result, you'll end up
with this darker zap, as you can see.
| | 01:20 | To restore the letters to white, go
ahead and click on the gray swatch next to
| | 01:24 | the word Diffuse, and then change the
brightness value to 100% and click OK.
| | 01:28 | And now we're going to do
that same thing for bang and pow.
| | 01:32 | So go ahead and twirl open the bang mesh,
click on its Front Inflation Material,
| | 01:35 | click on the page icon, choose Remove Texture.
| | 01:39 | The word bang will become gray, go ahead
and click on the gray color swatch next
| | 01:43 | to the word Diffuse, and change
the brightness to 100%, click OK.
| | 01:46 | And this may seem like a lot of busywork,
but it's potentially going to give us
| | 01:50 | cleaner results, and it should permit
Photoshop to ray trace a scene more quickly as well.
| | 01:55 | Twirl open the word pow, click on its
Front Inflation Material, click on the
| | 01:58 | page icon, choose Remove Texture, click
on the gray Diffuse swatch to bring up
| | 02:04 | the color picker dialog box, change the
brightness value to 100%, and click OK.
| | 02:09 | All right; that takes care of all the
front inflations, now for those cable
| | 02:12 | extrusions. Click on Extrusion Material
for the zap mesh, or any of the others;
| | 02:16 | it doesn't really matter where you start.
| | 02:18 | And then, I've gone ahead and created a
diffuse texture for you in advance. Let
| | 02:22 | me show you what it looks like.
| | 02:23 | It's called Blurred noise.tif, and it's
actually oriented at the exact angle of the extrusion.
| | 02:29 | So once we apply this image as a
diffuse texture, we'll end up getting these
| | 02:33 | line patterns inside the
cable extrusions, like so.
| | 02:36 | But I wanted to take a moment to show
you how I created this effect, because it's
| | 02:40 | pretty darn easy, and it's worth knowing.
| | 02:42 | I'll go ahead and hide the 3D panel for
a moment, and notice I'm working with a
| | 02:45 | flat background image. So, no Smart
Objects or Smart Filters this time around.
| | 02:49 | We're just going to work with static pixels.
| | 02:51 | I'll go up to the Edit menu and
choose the Fill command, or you can press
| | 02:55 | Shift+Backspace, or Shift+Delete on
the Mac, and change the Use option to 50%
| | 02:59 | gray, then click OK.
| | 03:01 | Next go up to the Filter menu, and choose
the Noise command, and choose Add Noise.
| | 03:06 | And, by the way, I'm just showing you
how I did something that you're already
| | 03:10 | seeing, so there's no reason for
you to do this if you don't want to.
| | 03:12 | I set the Amount value to 25%, I set
Distribution to Gaussian, and I turned on
| | 03:17 | the Monochromatic check box; click OK.
| | 03:20 | Then you go up to the Filter menu --
| | 03:22 | this is pretty standard stuff,
by the way.
| | 03:24 | I'll go up to the Filter menu, choose
the Blur command, and choose Motion Blur,
| | 03:28 | and I set the Angle value to 90 degrees
to establish an absolutely vertical blur,
| | 03:32 | and I raised the Distance value
to 100 pixels, and I clicked OK.
| | 03:36 | Now, you can see that that works
beautifully for most of the image, but things
| | 03:40 | don't go so well at the very
top and bottom of the canvas.
| | 03:43 | So press Control+A, or Command+A on the
Mac, in order to select the entire image.
| | 03:48 | Then go up to the Edit menu and choose
the Free Transform command, or you can
| | 03:53 | press Control+T, or Command+T on the Mac,
and I want you to change the Height value
| | 03:56 | only to 110%, like so.
| | 04:00 | So the Width value is fine the way it
is, and then press the Enter key, or the
| | 04:04 | Return key on the Mac, in
order to accept that modification.
| | 04:06 | So we just slightly stretched the image
to get rid of that junk at the top and
| | 04:10 | the bottom of the canvas.
| | 04:11 | All right; now let's test our work.
| | 04:13 | I'll click off the image
in order to deselect it.
| | 04:16 | Then I'll go up to the Filter menu,
and I'll choose the Other command, and
| | 04:19 | I'll choose Offset.
| | 04:21 | Now, I happen to know that this image
measures 1024 pixels wide by 1024 pixels
| | 04:26 | tall, and you can check that out
using the Image Size command.
| | 04:29 | But that just happens to be the
standard way that Photoshop works when it's
| | 04:32 | creating its own diffuse textures.
| | 04:34 | Anyway, I'll go ahead and choose Offset,
and I changed the Horizontal value to 0,
| | 04:38 | because there's no reason to offset
the image horizontally. And I changed the
| | 04:41 | Vertical value to half of
1024, which happens to be 512.
| | 04:46 | Then click OK, and you'll see that seam
right there through the center of the
| | 04:50 | image, so we do have a
little bit of a seam going on.
| | 04:54 | Now, the best way to get rid of that seam is
to just apply the Motion Blur filter again.
| | 04:58 | So I'm going to use my Rectangular
Marquee tool to select the midsection of
| | 05:02 | the image, like so.
| | 05:03 | Then notice that I'm just creating a
general selection; I'm not too concerned
| | 05:06 | about making sure it's exactly
centered inside the image window.
| | 05:10 | And then I'll go up to the Select menu,
choose Modify, and choose Feather, and
| | 05:14 | then I'll change the Feather
Radius value to 50 pixels, and click OK.
| | 05:18 | Then go up to the Filter menu, choose
Blur, choose the Motion Blur command,
| | 05:22 | apply those exact same
settings you applied before.
| | 05:25 | So an Angle of 90, Distance value of
100, click OK, and that'll go ahead
| | 05:29 | and wipe out that seam.
| | 05:31 | And then, just to make sure that you
don't have any seams inside your image,
| | 05:34 | either click or press Control+D, Command
+D on the Mac, to deselect the image.
| | 05:38 | And then go up to the Filter menu,
choose the Other command, choose Offset,
| | 05:41 | you'll see those last applied settings,
go ahead and click OK, and sure enough,
| | 05:45 | you don't have any seam at all.
| | 05:47 | Finally, go up to the Image menu,
choose the Adjustments command, and choose
| | 05:51 | Levels, or you can press
Control+L; Command+L on the Mac.
| | 05:55 | And I want you to click inside this
black point value here, and press Shift+up
| | 05:59 | arrow seven times in a row in order to
raise that value to 70, and press the Tab
| | 06:04 | key a couple of times to skip over to
the white point value, and press Shift+down
| | 06:08 | arrow three times this time, in order to
reduce that value to 225, just so that we
| | 06:14 | have something of a dark
pattern, and then click OK.
| | 06:17 | Now, if you have an eye for detail,
you'll notice that the top and the bottom of
| | 06:21 | the image are more blurred than
the central portion of the image.
| | 06:25 | So the center portion is a little noisier.
| | 06:27 | That's just fine; it's not going
to cause us any problems whatsoever.
| | 06:30 | If you want to go ahead and save your
brilliant version of this noise pattern,
| | 06:34 | then just go up to the File
menu, and choose the Save command.
| | 06:38 | But I'm going to go ahead and
work with the one I provided for you.
| | 06:40 | We'll apply this very diffuse
texture to those cable extrusions in the
| | 06:45 | next exercise.
| | Collapse this transcript |
| Dressing up the cable-length I-beams| 00:00 | In this exercise, we're going to dress up
our cable extrusions using that blurred
| | 00:04 | noise diffuse texture.
| | 00:05 | I've saved my progress, such as it is,
as Plain white letters.psd, found inside
| | 00:09 | the 03_cables folder.
| | 00:11 | Go ahead and double-click on the
thumbnail for zap bang pow layer to bring up to
| | 00:14 | 3D panel, and then click on the Extrusion
Material for the zap mesh, and drop down
| | 00:19 | to the Diffuse option, and choose Load Texture.
| | 00:23 | Navigate your way to the 03_cables
folder, and click on Blurred noise.tif, and
| | 00:27 | then click Open in order to apply that
Diffuse texture to the extruded sides.
| | 00:32 | Now, we're also going to assign a
few attributes to this material.
| | 00:35 | Change the Gloss value to 50%, and then
let's take this Shine value up to 100%.
| | 00:40 | You can go ahead and skip the Specular
option, and click on the Ambient swatch,
| | 00:46 | and then inside a color picker dialog
box, go ahead and dial that brightness
| | 00:49 | value down to 25%, and click OK.
| | 00:52 | Now, we're going to want to apply these
exact same attributes to the other two
| | 00:56 | cable extrusions, so let's go ahead
and save the material by clicking on the
| | 01:00 | sphere to bring up the Material subpanel.
| | 01:03 | Click on the right pointing arrow head,
and then choose New Material, and let's go
| | 01:06 | ahead and call this one
Cable noise, and click OK.
| | 01:09 | All right; now you can press the
Enter key, or the Return key on the Mac, to
| | 01:13 | hide that subpanel.
| | 01:14 | Click on the Extrusion Material for
the bang mesh, click on that sphere once
| | 01:18 | again, scroll to the very bottom of
your list, and click on that final material,
| | 01:22 | the one you just created called Cable
noise, and you'll see the noise pattern
| | 01:26 | applied to word bang in the image window.
| | 01:28 | Press the Enter key, or the Return
key on the Mac, in order to hide that
| | 01:31 | Materials panel, and I am going to twirl
closed both zap, and bang, so I can just
| | 01:36 | see the materials assigned to pow.
I am going to click on its Extrusion
| | 01:39 | Material, click on the sphere, click
on that final material, like so. You'll
| | 01:44 | see that material applied to the word
pow, then go ahead and press Enter, or
| | 01:47 | Return, to hide those materials. All right, gang!
| | 01:50 | Now it's time to load the lights.
| | 01:52 | Go up to 3D panel flyout menu, choose
Replace Lights Presets, navigate your way
| | 01:57 | to 03_cables folder. Therein, you'll
find a file called Cable lights.p3l. Go
| | 02:02 | ahead and click on it, and click the
Load button, and you'll see that Photoshop
| | 02:06 | switches out those infinite lights with
three different spotlights. One's called
| | 02:09 | zap light, because it's trained mostly
on the word zap. And if you want to get
| | 02:14 | a sense of what I mean, you can go ahead
and turn these lights on and off. So I
| | 02:17 | am going to turn off bang pow,
and under light for a moment here.
| | 02:20 | So you can see the zap light mainly
hitting the word zap, a little overflow onto
| | 02:24 | the other letters as well.
| | 02:26 | If I turn off zap light, things will get
pretty dark. Then I'll turn on bang pow,
| | 02:30 | and you can see that that
light hits both of those words.
| | 02:34 | And you may recall, it's pretty easy to
hit both those, because they are fairly
| | 02:37 | close to each other.
| | 02:38 | The word zap is several feet away,
essentially, inside this scene. And then I've
| | 02:43 | got a third light. Go ahead and turn
off bang pow, and turn on under light, and
| | 02:47 | you can see that this light illuminates the cable
extrusion, especially the ones for the word bang.
| | 02:52 | All right; go ahead and turn all
three of them on, and you'll have to do so
| | 02:55 | independently, one light at a time.
| | 02:57 | Now let's go ahead and render our scene,
so click on the word Scene near the top
| | 03:01 | of the 3D panel, click on the Global
Ambient Color swatch, and let's dial the
| | 03:06 | brightness value down to 50%, just to
darken things up a little bit, so we get
| | 03:10 | more dramatic lighting.
| | 03:11 | Click OK, and now let's try our hand
at ray tracing by changing the Quality
| | 03:15 | setting to Ray Traced Draft.
| | 03:17 | Now, this operation is going to happen
a little bit more slowly then the ray
| | 03:21 | tracing we applied in the previous
chapter, for example. It's probably going to
| | 03:24 | take a few minutes, depending
on the power of your machine.
| | 03:27 | And that's got a lot to do with not
only the fact that we're shining three
| | 03:31 | lights, and we're casting all kinds of
different shadows, by the way, so each one
| | 03:34 | of the lights has a different
softness setting. Plus, we have hundreds of
| | 03:38 | thousands of vertices associated
with each of these three meshes.
| | 03:42 | So you may want to go get a cup of coffee;
that kind of thing. Come back when it's done.
| | 03:46 | As usual, we're going to fast-
forward through the process.
| | 03:50 | Now, this is the final ray
traced version of the scene so far.
| | 03:53 | I look at it, and I think it looks
pretty darn good, but the letters are a
| | 03:56 | little bit too dark.
| | 03:58 | Now, I could sit there and fuss with
the lights, if I wanted to, or I could
| | 04:02 | brighten the letters using a more
simple approach that I'll demonstrate in
| | 04:05 | the next exercise.
| | Collapse this transcript |
| Precisely masking your 3D letters| 00:00 | In this exercise, I'm going to show
you how to absolutely perfectly mask the
| | 00:04 | letters inside of this 3D
composition so we can make the letters a little
| | 00:08 | brighter, without having to resort
to tediously modifying the lights, and
| | 00:13 | re-ray tracing the scene.
| | 00:14 | I've saved my progress as Ray-traced
cables.psd, found inside the 03_cables folder.
| | 00:20 | Now, if you're working along with me, I
want you to take a moment to save your
| | 00:24 | changes at this point, because we're
going to be making some modifications to
| | 00:28 | the image, and re-ray tracing it several
times, and you want to come back to this
| | 00:33 | version of the composition.
| | 00:34 | So here's how it works.
| | 00:35 | I'm going to go ahead and double-
click on the thumbnail for the 3D layer in
| | 00:39 | order to bring up the 3D panel, and
with Scene selected here at the top of the
| | 00:44 | list, I'll change the Quality to
Interactive (Painting) so that we can make some
| | 00:48 | modifications. And I'm going to turn off
each one of my three lights, so the scene
| | 00:53 | is going to be absolutely as dark as it
can possibly get, subject of course, by
| | 00:57 | the way, to the Global Ambient Color.
| | 01:00 | If you want to sync everything inside
the image, you want to take it to absolute
| | 01:03 | black, then go ahead and click on the
Global Ambient Color, and change that
| | 01:08 | brightness value to 0, like so.
| | 01:11 | And then we'll lose all
brightness associated with the 3D scene.
| | 01:14 | However, we are seeing some blue that's
conveyed here by the Background layer.
| | 01:18 | So click on the Background, press the
D key in order to make the foreground
| | 01:22 | color black, and then press Alt+Backspace,
or Option+Delete, to black out the entire
| | 01:26 | scene. And you may wonder,
what in the world am I doing?
| | 01:29 | Now let's turn the letters
on to generate that mask.
| | 01:33 | We'll do so by clicking on the 3D layer,
once again. Here inside the 3D panel, go
| | 01:38 | ahead and click on one of
the Front Inflation Materials.
| | 01:40 | I'll do so for the pow
mesh, since it's twirled open.
| | 01:43 | Then drop down to Illumination, click
on that Illumination swatch, and change
| | 01:47 | the brightness value to 100%, and there
is the word pow impeccably masked away
| | 01:52 | from the background. All right.
| | 01:53 | Go ahead and click OK in order to
accept that change, twirl open the bang mesh,
| | 01:58 | click on its Front Inflation
Material, and do the same thing.
| | 02:01 | Click on the Illumination swatch, change
the brightness value to 100%, click OK.
| | 02:06 | Twirl open zap, click on its
Front Inflation Material, click on the
| | 02:09 | Illumination swatch, change
it to 100%, and then click OK.
| | 02:14 | Then click on the Scene, because after
all, we've got some jagged edges going on
| | 02:18 | here, and drop down to the Quality
setting, and change it to Ray Traced Draft.
| | 02:22 | Now, because there's no lights, there's
no shadows, really there is no nothing
| | 02:26 | going on inside this scene, except for
the orientation, and the position, and the
| | 02:30 | scale of the letters,
| | 02:32 | Photoshop should ray trace that scene
pretty darn quickly. You can expect it to
| | 02:36 | wrap up in less than a
minute. Now check it out;
| | 02:39 | we have exactly masked the
letters inside of this image.
| | 02:43 | All we need to do is go
over to the Channels panel --
| | 02:46 | normally, what I would have you do is
grab one of these channels, and drag it
| | 02:50 | onto the little page icon in order to
create a new alpha channel, and then we'd
| | 02:54 | rename it something like letters, for example.
| | 02:56 | But if we were to do that inside this
particular composition, then later we
| | 03:02 | would have to reestablish the materials,
we would have to bring the lights back
| | 03:05 | up, we would have to set all those
illumination options back to 0, and then we
| | 03:09 | would have to re-ray trace the scene,
because if you want to keep the mask, then
| | 03:14 | we're not going to be able to
back step; you get the point.
| | 03:17 | So instead, what we're going to do is we're
going to put the mask inside of a different image.
| | 03:22 | So go ahead and press the Alt key, or
the Option key on the Mac. Grab any one
| | 03:26 | of these channels, it doesn't matter which
one, and drag it onto that little page icon.
| | 03:30 | Because you have the Alt or
Option key down, Photoshop displays the
| | 03:34 | Duplicate Channel dialog box.
| | 03:36 | Go ahead and change the Document to
new, and let's call this new document
| | 03:40 | Project masks. And I'm going to name
the new channel by entering the word
| | 03:44 | letters into the As option.
| | 03:46 | Then click OK, and notice you now have
a new image called Project masks that
| | 03:51 | contains a single channel called letters.
| | 03:53 | You may wonder what kind of image this
is. If you go up to the Image menu and
| | 03:57 | choose mode, you will see that this
is a Multichannel image, meaning it just
| | 04:01 | contains a bunch of masks,
and that's it. All right.
| | 04:04 | Now that we've created the mask, go back
to your image in progress, and then go up
| | 04:08 | to the File menu, and choose the
Revert command, or press the F12 key. And
| | 04:12 | Photoshop will go ahead and undo all of
those ridiculous modifications you made
| | 04:16 | to the image, and now we
have the best of all worlds.
| | 04:19 | We've got our 3D composition entirely
unharmed, and we also have this separate
| | 04:24 | image that contains the mask.
| | 04:26 | In the next exercise, I will show you
how to combine these two together in order
| | 04:30 | to brighten those letters.
| | Collapse this transcript |
| Brightening the faces of your letters| 00:00 | In this exercise, we're going to take
that mask that we created in the previous
| | 00:03 | movie, and we're going to use
it to brighten up our letters.
| | 00:06 | I have opened two images: Ray-traced
cables.psd, and then that Project masks.psd
| | 00:13 | file, that I'm incrementally building for you.
| | 00:16 | It will be there in the
03_cables folder as well.
| | 00:19 | So switch over to your composition in progress.
| | 00:22 | Click on the topmost layer in the
stack, the smoke laye,r and then press
| | 00:25 | Control+Shift+N, or Command+Shift+N on the
Mac, to bring up the New Layer dialog box.
| | 00:30 | Name the layer letters, and click OK.
| | 00:32 | Then go up to the Select menu, and
choose the Load Selection command, and switch
| | 00:37 | the document to Project masks.psd, or
whatever you called your file, and you want
| | 00:41 | to go ahead and load the letters channel;
that's my only option at this point, and
| | 00:45 | click OK. And that will load up
those letters as the selection outline.
| | 00:49 | Then press Alt+Backspace, or Option+
Delete, to go ahead and fill the letters with
| | 00:53 | the foreground color.
| | 00:54 | Now, it doesn't matter what the
foreground color is; it's just a placeholder for
| | 00:57 | the shape of letters.
| | 00:59 | I'll press Control+D, or Command+D on
the Mac, in order to deselect the image.
| | 01:03 | Drop down to the fx icon down here at
the bottom of the Layers panel, and choose
| | 01:07 | the Gradient Overlay command.
| | 01:09 | All right; we're going to define a
custom gradient by clicking on that Gradient
| | 01:12 | bar. And then I want you to go ahead and
Alt+Drag, or Option+Drag, the white color
| | 01:17 | stop until you see a Location
value of 35%; that guy right there.
| | 01:23 | Then Alt+Drag, or Option+Drag, the
black color stop to a Location of 65%.
| | 01:29 | And that's it; that's all you need to do.
| | 01:31 | Click OK in order to accept that modification.
| | 01:34 | Now change the Style from Linear, to
Reflected. That will go ahead and repeat the
| | 01:38 | gradient in both directions. And turn on
the Reverse check box so that the bands
| | 01:43 | of lightness are located on
the inside of the letters.
| | 01:47 | Now change the Angle value to 95 degrees, which
more or less matches the angle of the type.
| | 01:52 | Now change the Blend Mode from Normal, to Screen.
| | 01:55 | Now, we want to be screening the type in
the background; not that black type we
| | 01:59 | created just a moment ago.
| | 02:00 | So let's get rid of the black fill
associated with the layer by switching to
| | 02:04 | Blending Options over here in the
left-hand list, and then change the Fill
| | 02:08 | Opacity value to 0%, and click OK. And now
you can see that that gradient precisely
| | 02:14 | brightens the letters.
| | 02:16 | So here is what the letters looked like
before; here's what they look like now.
| | 02:19 | So we don't want them to be super bright.
We don't want them to be so hot that
| | 02:22 | they start clipping, but
we do want them to stand out.
| | 02:26 | Now, notice that I've got a bit of
darkness in this bottom right corner of the W
| | 02:31 | there, and there are some other
dark areas inside the letters as well.
| | 02:34 | Again, that's a lighting problem.
| | 02:36 | In other words, I haven't lit
my scene as well as I could have.
| | 02:40 | I could go back and adjust the light
some more, change the Angle at which they are
| | 02:43 | pointed, back them off, perhaps, so that
they cover a larger space, or I could
| | 02:47 | just go ahead and fix the
problem by adding another layer.
| | 02:50 | And that's what I'm going to do by
pressing Control+Shift+N, Command+Shift+N on
| | 02:54 | the Mac. And I'll call is layer
overlay, and then turn on this check box: Use
| | 02:58 | Previous layer to Create Clipping Mask.
| | 03:00 | That way we'll paint inside
the confines of the letters.
| | 03:03 | Click OK, and I'm going to go ahead and
grab my Brush tool, which you can also get
| | 03:07 | by pressing the B key, of course.
| | 03:08 | I've got a pretty large, soft brush.
| | 03:11 | I'll right-click inside the image
window so you can see the Size is set to 250
| | 03:14 | pixels, Hardness is 0%; that's
going to work out beautifully.
| | 03:18 | I'll press the X key to make sure
that I'm painting with white, and then
| | 03:21 | I'll paint inside that bottom right corner
of the W, and nothing appears to be happening
| | 03:26 | even though, if I were to unclip this
layer by Alt+Clicking, or Option+Clicking,
| | 03:31 | that horizontal line between the
overlay and letters layers, you can see that
| | 03:35 | I have painted a big glob of white.
| | 03:37 | So what gives? As soon as I Alt+Click,
or Option+Click, on that horizontal line
| | 03:41 | again, and clip the layer, the effect disappears.
| | 03:44 | Well, the problem is an obscure
blending option that you can get to by
| | 03:48 | double-clicking on an empty portion of
the letters laye,r and that's going to
| | 03:51 | bring up the Layer Style dialog box.
| | 03:53 | You want to turn off this check box:
Blend Clip layers as Group, because right
| | 03:58 | now what's happening is that 0% Fill
Opacity value is affecting all of the
| | 04:02 | clipped layers, and we don't want that.
| | 04:04 | So turn that check box off, and you'll
see that brightens up that bottom right
| | 04:08 | corner of the W quite nicely, then click OK.
| | 04:11 | Now let's go ahead and
paint in a few other areas.
| | 04:14 | I'm going to switch back to that
overlay layer; very important, because you
| | 04:16 | don't want to paint on the letters
layer. And maybe paint along the top of the
| | 04:21 | Z just a little bit.
| | 04:22 | Notice my brush barely cross the top
left corner of the Z, and now I want to
| | 04:27 | paint inside the letters
that make up the word Bang.
| | 04:29 | So I'm going to switch back to my
Rectangular Marquee tool, and I'm going to draw
| | 04:33 | a rough selection around those letters.
| | 04:35 | So notice that this marquee completely
encloses the word bang, without including
| | 04:39 | any of the words zap, or pow.
| | 04:42 | Now I'll switch back to my Brush tool,
and I'll just paint along near the top of
| | 04:46 | the B, for example; maybe a little bit
along the top of the N, and the G. I'm
| | 04:51 | barely, if at all, crossing the
letters, as you can see with my cursor.
| | 04:55 | I'll paint along the bottom of the
letters as well, and then I'll press Control+D,
| | 04:58 | or Command+D on a Mac, in
order to deselect the image.
| | 05:01 | Maybe I'll paint jut a little bit right
there at the top of that A, like so, and
| | 05:05 | then I'll switch back to
my Rectangular Marquee tool.
| | 05:08 | Now so far, I've laid down a bunch of
white pixels, which means that I will have
| | 05:12 | clipped those areas that
I painted over with white.
| | 05:15 | I don't want to do that. I want to turn
this overlay layer into a kind of dodge effect
| | 05:20 | by going up to the blend mode pop-up
menu, and changing the setting from Normal,
| | 05:24 | to Overlay, which is why I call it the
layer overlay in the first place, and that
| | 05:28 | will go ahead and blend in that layer of white.
| | 05:30 | All right, so that gets us most of the way
there. The one remaining compositional
| | 05:34 | effect is this smoke layer, which we'll
need to mask so that the extruded layers
| | 05:39 | appear to be coming out of the smoke,
and I'll be showing you how to create
| | 05:42 | the masks for each group of
extruded sides in the next exercise.
| | Collapse this transcript |
| Masking the extruded sides| 00:00 | In this exercise, I am going to show
you how to generate the masks around the
| | 00:04 | extruded edges for each one of these
words: zap, bang, and pow, independently,
| | 00:09 | so that we can ultimately create the
effect of the letters coming through the smoke.
| | 00:14 | Now, I'm looking at the final
version of the composition.
| | 00:17 | Go up to the Window menu, and choose the
Layer Comps command, and notice here in
| | 00:21 | the Layer Comps panel that I have
created a couple of layer comps in advance.
| | 00:24 | Click the right pointing arrow head in
order to switch to the Type with smoke
| | 00:28 | comp, which represents the
final version of the composition.
| | 00:31 | Now, notice here in the Layers panel,
there is a layer called smoke, and it
| | 00:35 | includes a layer mask.
| | 00:36 | Go ahead and Alt+Clic,k or Option+Click, on
that layer mask, and then zoom in on the image.
| | 00:41 | Now you will see that I have gone ahead
and masked the letters, and the extruded
| | 00:44 | sides, independently of each other.
| | 00:46 | I mention this because we have
these very thin, white outlines traced
| | 00:50 | around each one of the letters.
| | 00:52 | That's not necessarily ideal.
| | 00:53 | Usually, I prefer seamless transitions.
| | 00:56 | However, given the fact that this is
a graphic image, not a continuous tone
| | 00:59 | photograph, these edges aren't
going to cause us any problems.
| | 01:03 | The good news is that we have these very
precise contours around the areas of extrusion.
| | 01:10 | Now, given the nature of these contours,
the fact that we are seeing the smooth
| | 01:13 | curves, punctuated every once in a
while by a slight corner, you may figure the
| | 01:18 | tool to use in order to trace them
would be the Pen tool. Normally that
| | 01:23 | would be the way to go, but when you're
working with a 3D composition, there is no
| | 01:27 | reason to resort to the Pen. You can
mask every single surface in a 3D image
| | 01:32 | automatically, and let me
show you how that works.
| | 01:35 | I have saved my progress so far as
Brighter letters.psd, found inside
| | 01:39 | the 03_cables folder.
| | 01:40 | If you are working along with me, make
sure to save your progress right now,
| | 01:46 | because we are going to need to tear this
image apart in order to generate the masks.
| | 01:50 | Meanwhile, you will also want to make
sure that you have your Project masks.psd
| | 01:54 | file open, so that you can
add some more channels to it.
| | 01:57 | All right. So I will switch
back to the composition at hand.
| | 02:01 | I am going to go ahead and turn off that
letters layer, so that we are seeing the
| | 02:04 | original darker version of the letters.
| | 02:06 | And I will scroll to the bottom of the
stack, click on the Background layer,
| | 02:09 | press the D key to make the foreground
color black, and then press Alt+Backspace,
| | 02:14 | or Option+Delete on the Mac, in
order to make the background black.
| | 02:17 | Now select the 3D layer, and double-click on
its thumbnail in order to bring up the 3D panel.
| | 02:22 | And with the Scene item selected at
the top of the panel, go ahead and restore
| | 02:26 | the quality to Interactive (Painting) so
we can make some modifications without
| | 02:30 | waiting for the ray trace.
| | 02:32 | We need to make the image as dark as possible,
| | 02:34 | so click on the Global Ambient Color
swatch, and change the brightness value to 0,
| | 02:38 | then click OK in order to apply that change.
| | 02:41 | Now I'll go ahead and scroll to the
bottom of the 3D list, and turn off each one
| | 02:45 | of the light sources, so that
the image goes entirely black.
| | 02:49 | All right, now it's time
to work on the extrusions.
| | 02:51 | I am going to click on
the pow Extrusion Material,
| | 02:54 | click on the Illumination swatch, change
that brightness value to 100%, and click OK.
| | 02:59 | All right.
| | 03:00 | Let's go ahead and ray trace the scene
so that we have less jagged outlines.
| | 03:04 | Click on a Scene item, and then drop down
the Quality, and change it to Ray Traced Draft.
| | 03:08 | And a moment or two later, Photoshop should
go ahead and generate the smooth outlines.
| | 03:13 | As usual, we are going to go ahead
and speed up this process, of course.
| | 03:16 | Now, if you find that you have to wait
too long, you can go ahead and click to
| | 03:19 | interrupt the process.
| | 03:20 | After two or three passes, most of
the smoothing process should be done.
| | 03:23 | Now I'll go to the Channels panel.
| | 03:25 | Press the Alt, or Option, key, grab any
one of those channels, and drag and drop it
| | 03:30 | onto the little page icon down there
at the bottom of the panel. Switch the
| | 03:34 | document, change the Document setting
to Project masks.psd, and I am going to go
| | 03:39 | ahead and call this new
channel pow trail, and click OK.
| | 03:42 | All right; now we are done with pow, so
you can just go ahead and turn off the
| | 03:46 | pow mesh, if you want to. And that's
going to inspire Photoshop to re-render the
| | 03:50 | scene, which is fairly hilarious, given
that it's not getting anything done. It's
| | 03:54 | just a bunch of black pixels, but I
guess they're subject to refinement.
| | 03:58 | I am going to go ahead and scroll
up the list and click on the bang
| | 04:02 | Extrusion Material.
| | 04:03 | Click on its Illumination swatch and
change the brightness value to 100%, click
| | 04:08 | OK, and Photoshop will go ahead and
automatically update the ray trace.
| | 04:13 | You might want to go ahead
and give it a few passes.
| | 04:15 | Again, two or three passes should do the trick.
| | 04:18 | I am going to go ahead and
click to interrupt the process.
| | 04:20 | Then, once again, press the Alt or
Option key, grab one of those channels, drag
| | 04:25 | and drop it onto the page icon at the
bottom of the Channels panel, and change
| | 04:29 | the Document setting to Project masks.
| | 04:31 | Let's go ahead and call this
one bang trails, and click OK.
| | 04:36 | Now turn off the bang mesh, click
inside the image window in order to interrupt
| | 04:40 | the ray tracing process.
| | 04:41 | Click on the zap Extrusion Material,
click on its Illumination swatch,
| | 04:46 | change the brightness value to 100%, click
OK, and let the ray tracing process resume.
| | 04:52 | Again, after a couple or three
passes, go ahead and click to interrupt the
| | 04:55 | process. And likewise again, press
the Alt key, the Option key on the Mac;
| | 05:01 | drag the channel of your choice.
| | 05:02 | It doesn't matter which one, so I keep
dragging the blue channel, because it's
| | 05:05 | closest. Drop it onto the page icon,
| | 05:08 | change the Document to Project masks,
go ahead and name as newest channel zap
| | 05:12 | trails, and click OK.
| | 05:14 | And then notice, if you go over to the
Project masks.psd document, you now have
| | 05:18 | four channels inside your Channels
panel. You've got letters, you've got pow
| | 05:22 | trails, you've got bang
trails, and you've got zap trails.
| | 05:26 | So everything is good to go.
| | 05:27 | Now at this point, you can go ahead and
return to the Brighter letters.psd image.
| | 05:32 | Go up to the File menu -- this is very
important -- and choose the Revert command so
| | 05:36 | that you undo all the mess you've made
of this document, and a moment later you
| | 05:40 | will see the restored
image with all layers intact.
| | 05:43 | We are done with the 3D panel, so I
am going to go ahead and close it.
| | 05:46 | All right. So we've generated every
single mask we could possibly need.
| | 05:50 | In the next exercise, I will show you
how to use those masks to mask the smoke.
| | Collapse this transcript |
| Painting in a 3D smoke effect| 00:00 | In this exercise, we're
going to paint in the smoke.
| | 00:03 | And I think you'll be amazed
just how easy it's going to be,
| | 00:05 | thanks to the fact that
we've saved out those masks.
| | 00:08 | I'm going to go ahead and switch over
to my composition in progress, which is
| | 00:11 | called Brighter letters.psd.
| | 00:13 | Make sure that you have your Project
masks.psd file open as well; the one that
| | 00:18 | contains the four masks
inside the Channels panel.
| | 00:21 | All right; I'll switch back to the
image in progress, switch back to the Layers
| | 00:24 | panel as well, click on the smoke layer
to make it active, and then go ahead and
| | 00:28 | turn that smoke layer on.
| | 00:30 | Now, if we turn the letters layer off
for a moment, you'll see that the smoke
| | 00:33 | is in white against the dark background, and
it absolutely covers up everything behind it.
| | 00:38 | To make it interact, we need to drop
out those dark areas by going up to the
| | 00:42 | blend mode pop-up menu, and changing
the blend mode from Normal, to Screen.
| | 00:46 | Now we have the interaction we're looking for.
| | 00:48 | Now, the letters should be coming
through the smoke, so none of the letter forms
| | 00:52 | should be covered up at all.
| | 00:53 | Let's go ahead and load the letters from
the letters layer, since it's handy here,
| | 00:57 | by Control+Clicking, or Command+
Clicking, on that layer thumbnail.
| | 01:01 | Then, with the smoke layer still
selected, drop down to the bottom of the
| | 01:04 | Layers panel, and press the Alt key, or
the Option key on the Mac, and click that
| | 01:09 | Add layer mask icon.
| | 01:11 | And because you had the Alt or Option key
down, you just masked away the selection.
| | 01:15 | So your layer mask should show black
letters against a white background.
| | 01:19 | All right; now let's go ahead and paint
away some of those extrusion trails by
| | 01:23 | going up to the Select menu,
choosing Load Selection, change the Document
| | 01:27 | setting to Project masks.psd,
and change Channels to pow trail.
| | 01:32 | Then click OK, and notice you've loaded
a selection outline around the extruded
| | 01:36 | area of the word POW.
| | 01:38 | Now go ahead and switch to the Brush
tool, which you can get by pressing the B
| | 01:41 | key. Make sure that black
is your foreground color.
| | 01:44 | In my case it isn't, so I'll
press the X key to make it so.
| | 01:48 | And I'm going to right-click inside
the image window, and take my Size value
| | 01:51 | up to 250 pixels; very important that
your Hardness value is set to 0%, and
| | 01:56 | then just go ahead and paint away
those portions that should be coming
| | 02:00 | through the smoke, like so.
| | 02:03 | You'll probably have an easier time
telling what you're doing if you press
| | 02:05 | Control+H, or Command+H on a Mac, in
order to hide that selection outline.
| | 02:09 | Now, if you find that you go too far at
any point, then you can press the X key
| | 02:14 | in order to switch the foreground color
back to white, and then paint some of the
| | 02:19 | smoke back in, like so.
| | 02:21 | I'm going to press the X key in order
to switch the foreground color back to
| | 02:23 | black, and paint right there on the W
just a little bit, and then paint down the
| | 02:28 | side of that extrusion in order to
reveal a little bit more of those edges.
| | 02:32 | And now I'll press the X key in order
to switch the foreground color to white,
| | 02:36 | and I'll press the 5 key to
reduce the Opacity of the brush to 50%.
| | 02:40 | And I'll paint some of the smoke back
in, just incrementally here along the
| | 02:44 | bottom of the P, and O as well, in order
to achieve the effect you see on screen.
| | 02:49 | All right, now let's take on the next
word by going up to the Select menu,
| | 02:53 | choosing the Load Selection command --
| | 02:54 | Very important, by the way, that you
choose Load Selection, and not Save Selection.
| | 02:59 | It's very easy to choose that command
instead, and then overwrite one of your
| | 03:02 | masks, which you don't want to do.
| | 03:04 | So choose the Load Selection command,
then go ahead and change the Document to
| | 03:08 | Project masks, once again. Switch the
Channel to bang trail, and click OK.
| | 03:13 | All right; now notice that that bang
extrusion extends down into the word pow,
| | 03:18 | and we don't want to mess up
any of that word whatsoever.
| | 03:21 | So we're going to have to do a
little bit of selection math, starting by
| | 03:24 | pressing the Control and Alt keys; those
would be the Command and Option keys on
| | 03:29 | the Mac, and then go ahead and click on
the thumbnail for that letters layer, and
| | 03:34 | that will subtract those letters from the mix.
| | 03:36 | Then we need to subtract
away the pow extrusion as well.
| | 03:40 | So go up to the Select menu, and
choose Load Selection once again, switch
| | 03:44 | Document to Project masks.psd, switch
the Channel to pow trail, and turn on the
| | 03:49 | Subtract from Selection option.
| | 03:51 | Then click OK, and now you've isolated
just that bang extrusion from everything
| | 03:57 | else inside the image.
| | 03:58 | In my case, I'll press the X key in
order to switch the foreground color back to
| | 04:01 | black, and I'll press the 0 key to
increase the Opacity value back to 100%. I'll also
| | 04:07 | press Control+H, or Command+H on the
Mac, to hide that selection outline.
| | 04:11 | And I'll go ahead and paint inside
of the letters, like so, in order to
| | 04:15 | paint away that smoke, and I might go
ahead and paint down the side of the G
| | 04:19 | just a little bit as well.
| | 04:20 | Then I'll press the X key in order to
switch the foreground color to white,
| | 04:24 | press the left bracket key a couple of
times in order to reduce the size of my
| | 04:27 | brush, and then just click at the top
of the letters in pow in order to bring
| | 04:32 | back some smoke, like so.
| | 04:33 | Now I might go ahead and paint along
the side of the B to bring a little bit of
| | 04:37 | smoke back there, too.
| | 04:38 | All right; I'm going to press the X key
in order to switch the foreground color
| | 04:42 | back to black, and then click on the
bottom left corner of the B; maybe click
| | 04:46 | right there in the A as well.
| | 04:47 | These are all subjective
modifications, by the way; you can totally make
| | 04:51 | any changes you like.
| | 04:52 | And you know, I think I want a little bit
more smoke next to the B, so I'll press
| | 04:56 | the X key in order to make the
foreground color white, and then click just right
| | 05:00 | there at that location. Press the X
key again in order to make the foreground
| | 05:03 | color black, and click right about there.
| | 05:06 | All right; all that's left is the zap
trails, so go up to the Select menu,
| | 05:10 | choose the Load Selection command;
| | 05:12 | very important you choose the right
command there. Change the Document to
| | 05:15 | Project masks.psd, go ahead and change
the Channel to zap trail, make sure that
| | 05:20 | the Operation is set to New Selection;
click OK in order to load that selection.
| | 05:25 | Once again, we're
selecting too much of the image,
| | 05:28 | so we're going to perform a
couple of calculations here.
| | 05:31 | First of all, press Control
and Alt at the same time;
| | 05:34 | Command and Option on the Mac, and then
click on the thumbnail for that letters
| | 05:38 | layer in order to subtract the
letters away from the selection.
| | 05:42 | Then go up to the Select menu, choose
the Load Selection command again, switch
| | 05:47 | Document to Project masks, switch
the Channel to bang trail, turn on the
| | 05:51 | Subtract from Selection option, and click OK.
| | 05:54 | And that goes ahead and
subtracts away the word bang.
| | 05:57 | We still have selected a little bit of
the pow trails, but we're not going to
| | 06:00 | get down that far, so that shouldn't matter.
| | 06:03 | Make sure that your Opacity is set to
100%, and that the foreground color is black.
| | 06:08 | Press Control+H, or Command+H on the Mac, in
order to hide the selection outline, and
| | 06:12 | go ahead and paint inside the top
portion of that extrusion, like so.
| | 06:17 | I might also go ahead and paint down the
side of the extrusion just ever so slightly.
| | 06:21 | All right, now I'll press the X key in
order to switch the foreground color to
| | 06:24 | white, and I'll click right there at
the top of the N, and at the top of the A,
| | 06:29 | right there on the left side of the top
of the A in bang as well, in order bring
| | 06:34 | back just a little bit of smoke.
| | 06:36 | And, you know, I think I went too far with this
right-hand edge, so I might paint the smoke
| | 06:40 | back in at that location as well, maybe
click right about there in order to add
| | 06:44 | a little bit of smoke underneath the
P, and that looks pretty good to me.
| | 06:48 | In the next exercise, we'll finish
off the composition by adding a knockout
| | 06:52 | layer, and an adjustment layer.
| | Collapse this transcript |
| Knocking out the excess smoke| 00:00 | All right, so here I am
reviewing the composition.
| | 00:02 | Love the smoke, but it's possible we have a
little bit too much of a good thing going on.
| | 00:07 | After all, the smoke is doing a pretty
good job of obscuring every bit of those
| | 00:12 | cable-like I-beam extrusions.
| | 00:14 | So in this final exercise, we're going
to back off the effect using a knockout
| | 00:18 | layer, and then we'll also add an
adjustment layer to enhance the contrast.
| | 00:22 | I've saved my changes as Painted in smoke
.psd, found inside the 03_cables folder.
| | 00:27 | I'm going to scroll up to the top of
the Layers panel and turn that letters
| | 00:31 | layer back on, just so that we have
a sense of the overall composition.
| | 00:35 | Make sure that the smoke layer is selected.
| | 00:37 | Now, normally I'd go ahead and create a
gradient inside of the layer mask, but we
| | 00:41 | spent so much time getting that layer
mask exactly right that I don't want to
| | 00:45 | take a chance of hurting it.
| | 00:47 | So we're going to add a knockout
layer instead. And as you may recall,
| | 00:51 | knockout layers require a fair
amount of set up, so let's get everything
| | 00:54 | established in advance
| | 00:56 | by pressing Control+Shift+N, or Command
+Shift+N on the Mac, to bring up the
| | 00:59 | New Layer dialog box, and I'm
going to go ahead and call this layer
| | 01:02 | knockout, and click OK.
| | 01:04 | Then we need to put both
of these layers in a group,
| | 01:07 | so Shift+Click on the smoke layer to
select it, and then go up to the Layers
| | 01:10 | panel flyout menu and choose New Group
from layers, and I'll go ahead and call
| | 01:14 | this group KO group, and then click OK.
And then I'll twirl it open so I can
| | 01:19 | regain access to those layers.
| | 01:21 | Double-click on an empty portion of the
knockout layer in order to bring up the
| | 01:24 | Layer Style dialog box.
| | 01:26 | Reduce the Fill Opacity value to 0%,
and set Knockout to Shallow. That's very
| | 01:31 | important, by the way; we
don't want deep. And then click OK.
| | 01:35 | So that's all there is to the set up.
| | 01:37 | Now let's go ahead and create the gradient
| | 01:39 | by pressing Control+Minus, or Command+
Minus on the Mac, to back out a step, then
| | 01:43 | grab your Gradient tool, which
you can get by pressing the G key.
| | 01:46 | And just to make sure that we're both
on the same page, right-click on that
| | 01:49 | little gradient icon on the far left side
of the options bar, and choose Reset tool.
| | 01:54 | Then click the down pointing arrow head
next to that gradient bar, and select the
| | 01:58 | second gradient in, which
is Foreground to Transparent.
| | 02:01 | You can also get to that gradient, by the way,
by pressing the period key; just a little trick.
| | 02:06 | Anyway, I'm going to press the Enter key, or
the Return key on the Mac, to hide that panel.
| | 02:09 | Then tap the D key, just to make sure
that your foreground color is black, and
| | 02:13 | begin dragging about a pica, or so,
below the bottom of the canvas up to the top
| | 02:18 | of the inside of the A. And I'm
pressing the Shift key, by the way, to create a
| | 02:21 | vertical gradient, and then I'll
release in order to create that knockout.
| | 02:25 | So any portion of the knockout layer
that's opaque turns the layer below it
| | 02:30 | transparent, and any portion of that
knockout layer that's transparent leaves the
| | 02:34 | layer below it alone.
| | 02:35 | That may seem like some pretty strange
reasoning, but that's the way it works.
| | 02:39 | All right; now I'm going to zoom back in.
Let's enhance the contrast by adding a
| | 02:42 | levels adjustment layer.
| | 02:44 | I'll press the Alt key, or the Option
key on the Mac, and click that black/white
| | 02:47 | icon at the bottom of the Layers panel,
and then choose the Levels command. And
| | 02:51 | I'm going to go ahead and call
this guy contrast, and then click OK.
| | 02:55 | And, by the way, if you loaded dekeKeys,
you can also create a levels adjustment
| | 02:58 | layer by pressing Control+Shift+L,
or Command+Shift+L on the Mac.
| | 03:02 | I'm going to take this white point
value down from 255, to 250, just to enhance
| | 03:07 | the highlights ever so slightly. And
then I'm going to click in this middle
| | 03:11 | gamma value, and I'll press Shift+down
arrow three times in a row to reduce the
| | 03:15 | value to 0.7, which darkens the midtones.
| | 03:18 | That looks pretty good to me. I'm going to
go ahead and hide that Adjustments panel.
| | 03:22 | Problem is that even though we've
got some decent contrast going on now
| | 03:27 | throughout the image, things aren't
faring so well down here at the bottom
| | 03:31 | of the composition.
| | 03:32 | Notice the I-beam extrusion behind the
word pow is turning pretty much jet black,
| | 03:36 | and so we're losing some definition there.
| | 03:39 | What I'd like to do is create a
gradient layer mask for this adjustment layer
| | 03:42 | that hides the bottom portion of the image.
| | 03:44 | Well, it turns out I've already got
that. Right there, that knockout layer is
| | 03:49 | already providing me with that mask.
| | 03:50 | All I need to do is grab the contrast
layer, and drag it below the knockout
| | 03:55 | layer, and release. And that goes ahead
and brightens up that bottom portion of
| | 03:59 | the image, because the knockout is cutting
through the two layers in this group below it.
| | 04:04 | And that's by virtue of the fact -- I'll
go ahead and double-click on an empty
| | 04:07 | portion of the knockout layer. That's by
virtue of the fact that we set Knockout
| | 04:11 | to Shallow, and that's just
how it works inside of Photoshop.
| | 04:15 | When you have a shallow knockout, it
goes to the bottom of the layer group.
| | 04:18 | All right, and that takes care of it.
| | 04:20 | I'm going to go ahead and press the F
key a couple of times, and zoom in on the
| | 04:23 | image. Not only have we managed to
create these twisting, cable-like I-beam
| | 04:27 | extrusions, but we've also managed to
exactly accurately mask every single
| | 04:33 | surface of the letters, and of the
extruded sides, here inside Photoshop Extended.
| | Collapse this transcript |
|
|
4. Sharp and Edgy Grunge TypeEstablishing a worthy grunge background| 00:00 | In this chapter, I'll show you how to
make 3D grunge type, specifically the
| | 00:04 | variety that you're seeing onscreen.
| | 00:06 | Now, I don't pretend that this is the
only approach to grunge. In fact, I dare
| | 00:10 | say any filthy type effect
ultimately qualifies as grunge.
| | 00:14 | So consider this one of the
many possible expressions.
| | 00:17 | I'm going to switch over to this file
and that's called Mercy.psd. It's found
| | 00:20 | inside the O4_grunge folder.
| | 00:22 | Now, the text inside this file is set in
the font Poplar, which you may or may not
| | 00:26 | have on your machine.
| | 00:27 | So I've gone ahead and included an
editable version of the type, as well as that
| | 00:32 | same type converted to a shape layer.
But before we start extruding the type in
| | 00:36 | Repousse, I've got a big problem with
this background. I'll go ahead and turn off
| | 00:40 | the mercy layer so that we can focus
on the background, which is this layer at
| | 00:43 | the bottom of the stack that's called wall.
| | 00:46 | And on balance, it looks great. This
is a photograph from the Fotolia Image
| | 00:49 | Library, by the way, about which you
can learn more at fotolia.com/deke.
| | 00:53 | But it doesn't look nearly dark and
gritty enough for the effect that I'm trying
| | 00:56 | to pull off. And the reason I'm starting
with the background is because it really
| | 01:00 | informs the rest of the effect. If you
don't get that background right, then it's
| | 01:04 | hard to get into the spirit of the thing.
| | 01:06 | So with the wall layer selected, go
up to the Layers panel flyout menu, and
| | 01:10 | choose Convert to Smart Object. Or if
you loaded Dekekeys, you can press Control+Comma;
| | 01:13 | Command+Comma on the Mac.
| | 01:15 | That way we can apply a
nondestructive filtering effect to the image.
| | 01:19 | That filter effect is located here
under the Image menu, then you go to the
| | 01:22 | Adjustments, and you choose Shadows/
Highlights, and that will bring up the Shadows
| | 01:26 | Highlights dialog box.
| | 01:28 | Now, we need to be able to see all of
the options that are available to us,
| | 01:31 | so go ahead and turn on the
Show More Options check box.
| | 01:35 | It's a filtering effect, by the way,
meaning that it goes in, and it looks
| | 01:38 | for edges inside of the image, which are
rapid transitions between highlights and shadows.
| | 01:43 | And along the way, it allows you to
brighten the shadows, and darken the highlights.
| | 01:47 | So, you're exaggerating the degree
of difference between the luminance
| | 01:51 | levels inside the image.
| | 01:52 | We're going to start it off with the
Highlights, and I'm going to take that
| | 01:55 | Amount value way up by pressing Shift+
up arrow, and ultimately I'm going to take
| | 02:00 | the value up to 80%. And then I want to
some degree or other effect all of the
| | 02:05 | luminance levels inside the image.
| | 02:07 | So I'm going to increase the Tonal
Width value all the way to 100%, and you can
| | 02:11 | see that we're darkening the image
overall. Now, we're darkening the brightest
| | 02:15 | colors the most; we're darkening
the darkest colors just a little bit.
| | 02:21 | The Radius value allows you to expand
the effect, so that you don't end up
| | 02:24 | with unnatural haloes.
| | 02:26 | Go ahead and select that value, and
let's take it all the way up to 200 pixels.
| | 02:30 | All right; now let's visit the Shadows value.
| | 02:32 | Now, I want to deepen the shadows across
the board, so I'm going to increase that
| | 02:36 | Tonal Width value all the way to 100% as well.
| | 02:39 | So we're really stressing out the
image at this point. Then I'm going to take
| | 02:43 | that Amount value down, because I
don't want to effect the Shadows nearly as
| | 02:47 | much as the Highlights. Ultimately I
arrived at a value of 15%. A Radius of 30
| | 02:51 | pixels is just fine for these shadows.
| | 02:54 | Next I'm going to drop down to the
Midtone Contrast value, and I'm going to take
| | 02:58 | it up as well, and in this case I
was pretty happy with a value of 65.
| | 03:03 | Now, the Color Correction option allows
you to either increase or decrease the
| | 03:07 | Saturation in order to
compensate for the effect.
| | 03:10 | Photoshop goes ahead and turns
the saturation up by default.
| | 03:13 | I'm going to take this value down to
-50, and once you've established the values
| | 03:17 | that you see on the screen, go ahead and click
on the OK button in order to apply that effect.
| | 03:22 | All right, now to give you a sense of
what we've accomplished here, I'll go
| | 03:26 | ahead and turn the Smart Filters off.
So that's the before version of the image;
| | 03:29 | way to bright and happy for grunge. And if I
turn the eyeball back on, that's the after effect.
| | 03:36 | Now, just to conserve space, I'm gong
to right-click on the white filter mask,
| | 03:39 | and choose Delete Filter Mask, and
that just gives us more room to work here
| | 03:43 | inside the Layers panel.
| | 03:44 | All right; so armed with this grittier,
filthier background, we're now ready to
| | 03:48 | take on 3D grunge type,
starting in the next exercise.
| | Collapse this transcript |
| Assigning a bevel with a custom contour| 00:00 | In this exercise, we are going to use
Repousse to establish a base 3D object.
| | 00:05 | I've saved my progress as Filthy dirty
background.psd, found inside the 04_grunge folder.
| | 00:10 | If you're working along with me, go
ahead and turn on that shape layer at the
| | 00:13 | top of the stack, and then
click on it to make it active.
| | 00:16 | Press Control+J, or Command+J on a Mac, to
make a copy of that shape layer, just so
| | 00:20 | you don't lose the original,
and turn the original off.
| | 00:23 | Then go up to the 3D menu, choose
Repousse, and choose Layer Mask.
| | 00:27 | If you get the alert message, go
ahead and click on the Yes button.
| | 00:30 | And we're going to start off
with a few familiar steps here.
| | 00:33 | For starters, go up to the All icon
below the word Materials, click on it, and
| | 00:37 | then select that first sphere in the
third row, which it signs No Texture, and
| | 00:42 | then go ahead and click off
that pop-up panel to hide it.
| | 00:45 | Next, we need to go ahead and open up
that hole inside the R. Fortunately, where
| | 00:50 | this type is concerned, we only have one hole.
| | 00:52 | So you can just go ahead and set the
Type option from Inactive, to Hole, and
| | 00:57 | that'll take care of it.
| | 00:58 | Next, let's dial in the Depth setting of 0.1,
which is sufficient for this big, huge type.
| | 01:04 | And I am also going to add a reticulated
bevel around the edges, so I am going to
| | 01:08 | set the Height value to 4,
and the Width value to 8.
| | 01:11 | Now, I don't want this roundish kind of
doughy bevel; I want some something a lot sharper.
| | 01:16 | So I am going to dial in a custom contour.
| | 01:18 | You can create your own contours by
clicking on that little semaphore flag below
| | 01:22 | the word Contour, and then you just
click along this line, and you drag these
| | 01:26 | points to different locations.
| | 01:28 | If you don't want a smooth curve as
you get by default, then you go ahead and
| | 01:31 | turn on the Corner check box
for each one of those points.
| | 01:35 | Now, I've gone ahead and done this in
advance for you, just because it's a lot of
| | 01:38 | busy work, and I don't really see
any reason that you have to do it.
| | 01:41 | So I am going to cancel out.
| | 01:42 | What I'd like you to do is click the
down-pointing arrow head next to the
| | 01:47 | little semaphore flag.
| | 01:49 | Then click the right-pointing
arrow head, and choose Load Contours.
| | 01:52 | Then navigate your way to the 04_
grunge folder, and select the file called
| | 01:56 | Stair-stepped edges.shc, and
then click on the Load button.
| | 02:00 | And you'll add three different contours.
| | 02:02 | We've got Chiseled, here is Straight
Steps, and then finally, I've got one called
| | 02:07 | Jags, which is the one we'll be using.
| | 02:10 | If you want to get a sense of how
that's put together, go ahead and click off
| | 02:13 | the panel, and then click inside that
little set of steps there in order to
| | 02:17 | bring up the Contour Editor dialog box, and you
can see the position of my points right here.
| | 02:22 | Ultimately, I've created
a series of corner points.
| | 02:24 | All right; I am going to cancel out.
| | 02:27 | Now, if you take a close look at
these beveled edges, they appear to be
| | 02:31 | pretty darn smooth.
| | 02:33 | We've got a sharp edge right at the
beginning, but then we don't have much
| | 02:36 | definition in the middle.
| | 02:38 | And that's, once again, a
function of the Mesh Quality.
| | 02:41 | So we are going to go ahead and bump the
Mesh Quality from Draft all the way up to Best.
| | 02:45 | And you are going to have to wait a few
seconds for Photoshop to render it out,
| | 02:48 | but a moment or two later, you'll see
all kinds of definition, now, inside those
| | 02:53 | bevels, and that's
exactly what we're looking for.
| | 02:55 | All right, now go ahead and click on the
OK button in order to create that 3D object.
| | 03:00 | All right; now that we've created this
new 3D object, I am going to go ahead and
| | 03:04 | rename this layer mercy 3D, just so
that we can better keep track of it.
| | 03:09 | Now, the letters are awfully bright.
It's a little bit difficult to identify
| | 03:13 | exactly what's going on here, and that's
because we have too much light on the scene.
| | 03:17 | So I am going to go ahead and zoom out,
and then double-click on the thumbnail
| | 03:20 | for the mercy 3D layer to bring up the
3D panel, and I am going to take Infinite
| | 03:25 | Light 2 and throw it away, and then I'll
grab Infinite Light 3 and throw it away as well.
| | 03:30 | So we just have Infinite
Light 1, and nothing more.
| | 03:34 | Now, we'll load a custom light
later, but this will do for now.
| | 03:37 | You can go ahead and hide the 3D panel in
order to take a cursory look at that object.
| | 03:42 | Now that we've established our base
3D object, it's time to rotate both our
| | 03:45 | camera angle, and the object itself, in
3D space, and I'll show you how that works
| | 03:50 | in the next exercise.
| | Collapse this transcript |
| Matching 3D type to a photographic scene| 00:00 | In this exercise, we're going to adjust
both the Orientation, and Position, of the
| | 00:04 | camera, as well as the 3D type object.
| | 00:08 | I've saved my changes as Contoured bevels
.psd, found inside the 04_grunge folder.
| | 00:13 | Now, bear in mind that what we
ultimately want is for the type to cast a shadow
| | 00:19 | against the wall in the background.
| | 00:20 | And that means that the ground
plane has to be parallel to the wall.
| | 00:24 | So let's solve that problem first.
| | 00:26 | I'll return to my file in progress, and
select the Camera Rotate tool down here
| | 00:30 | toward the bottom of the toolbox.
| | 00:32 | And then, go up to the View menu,
choose Show, and choose 3D Ground Plane, so
| | 00:37 | that we can see where the ground plane is.
| | 00:39 | Now, by default, the ground plane is
perpendicular to us, just as if we were
| | 00:42 | standing on the ground plane.
| | 00:44 | You can switch it automatically so that
you're looking down on the ground plane
| | 00:47 | by going up to the Options bar, and
clicking on Straight-on Camera, and then
| | 00:52 | choose Top from that pop-up menu.
| | 00:53 | And the deed seems to be done.
| | 00:55 | However, these particular values, X: 0, Y:
| | 01:00 | 180, and Z: O,
| | 01:01 | I have found, at least inside of this file,
causes some problems later on down the line.
| | 01:05 | So we're better off
doing this maneuver manually.
| | 01:08 | I really don't know why, but
let me show you how it works.
| | 01:10 | I'll go ahead and press Contrl+Z, or
Command+Z on a Mac, to scoot the ground
| | 01:14 | plane back where it was.
| | 01:16 | And then using my 3D Widget, I'm going
to go ahead and drag that blue rotation
| | 01:21 | option right there downward, so that
I'm rotating my view of the world to look
| | 01:25 | straight down on the ground plane.
| | 01:27 | And notice that we end up
with very different values.
| | 01:30 | In fact, these are exactly the values I want;
| | 01:32 | an X value of 180, a Y of 360, and a Z of -180.
| | 01:36 | And these values, for whatever reason, end up
working out for us very nicely. All right.
| | 01:42 | Now we need to lay the letters against
the ground plane, which means that we
| | 01:45 | have to switch to the Object Rotate tool.
| | 01:48 | So go ahead and select
that tool from the toolbox.
| | 01:50 | And I just happen to know, the easiest
thing to do here is to enter an X value
| | 01:54 | of 90 degrees, and that goes ahead and plops
those letters right down on the ground, so
| | 01:59 | that they look upright to us.
| | 02:00 | Now, I want the letters
to be at kind of an angle.
| | 02:03 | If you take a look at the final version
of the artwork, notice that this mercy
| | 02:07 | sign, or whatever it is, is hanging at an
angle, and it's tilting slightly toward us.
| | 02:13 | These both turn out to be
object orientation adjustments.
| | 02:16 | So I'll switch back to my image, and
I'm going to start things off by changing
| | 02:20 | the Z value to -7, and I'll press the
Enter key, or the Return key on the Mac, and
| | 02:24 | you can see that, that rotates the
letters slightly down and to the left.
| | 02:27 | And next, I'll change the Orientation
value from 90, to 82, and that's going to
| | 02:33 | go ahead and tilt those letters outward.
| | 02:34 | At this point, we need to make sure that
the letters are resting directly on the
| | 02:39 | ground plane, at least the
bottom edges of the letters.
| | 02:42 | So go up to the 3D menu and choose
Snap To Ground Plane in order to move
| | 02:47 | those letters quite a bit farther back, so
you can see that they're getting much smaller.
| | 02:52 | And to my mind, they're too small for the scene.
| | 02:55 | So I have one or two options.
| | 02:56 | I could scale these letters; make them
bigger. Or, I could just zoom in on the
| | 02:59 | letters in 3D space.
| | 03:01 | I'm going to take that latter approach,
by switching back to the Camera Rotate
| | 03:05 | tool, and then go ahead and click on
the Pan tool up here in the Options bar so
| | 03:09 | that you gain access to the Position values.
| | 03:12 | And I'm going to change the Z value to 1100
even, and that's going to zoom me into the scene.
| | 03:18 | So in other words, the ground plane,
and the object, are both moving toward me,
| | 03:22 | because really, I'm moving toward them.
| | 03:25 | Next, I want to move my view down
slightly so that the objects pop up a little bit.
| | 03:29 | So I'm going to change the Y value to 150.
| | 03:32 | Now let's see if we can do a
better job of lighting the scene.
| | 03:35 | I'll go ahead and double-click on
the thumbnail for the 3D object here
| | 03:38 | inside the Layers panel.
| | 03:39 | That brings up the 3D panel.
| | 03:41 | Then make sure that Scene is selected,
drop down to Global Ambient Color, and
| | 03:45 | click on that swatch.
| | 03:46 | And then let's change the brightness
value to 50, because we don't want quite
| | 03:50 | this much ambient color.
| | 03:52 | However, thing is, there is a fair
amount of ambient color in the background
| | 03:56 | image, by which I mean, there isn't, like,
this direct light that's casting wicked
| | 04:01 | shadows all over the place.
| | 04:02 | You can see that we've got this
plaster wall here that ought to be casting
| | 04:06 | shadows on the bricks, at
least it would be nice if it was.
| | 04:09 | However, we have these very tepid shadows,
and we're going to have to exaggerate
| | 04:13 | those shadows later.
| | 04:15 | But for now, I just want you to note
that the shadows of that background
| | 04:18 | scene seem to be cast down and to the
right, and so we need to match the
| | 04:22 | direction of those shadows.
| | 04:24 | And I've gone ahead and created a
light source in advance for you.
| | 04:27 | Go up to the 3D panel flyout menu, and
choose Replace Lights Presets, and then
| | 04:32 | inside the 04_grunge folder, you'll
find a file called Vague angle.p3l.
| | 04:37 | Go ahead and click on it, and click the
Load button in order to load up that light.
| | 04:40 | Now, this is still an infinite light
source, by the way, because there is no
| | 04:44 | spotlight at work inside of this scene.
There is no hanging bulb, either, that
| | 04:48 | would serve as a Point light.
| | 04:50 | So we're going to stick with
Infinite light for this one.
| | 04:52 | And you can see that I've
dialed in an Intensity value of 0.9.
| | 04:56 | I believe that's the default setting for
that original Infinite light 1 source.
| | 05:00 | And I've taken that Softness value
pretty high to 40%, because we do have very
| | 05:05 | soft shadows, once again, in the background.
| | 05:07 | So I'm trying to take my cue
from the actual photograph.
| | 05:10 | And if you want to see the light, then
go ahead and drop down to this Toggle
| | 05:14 | misc 3D extras icon, click on it, and
choose 3D Light, and you'll see that it's
| | 05:19 | coming in from the upper left-hand corner.
| | 05:21 | So it's going down and to the right;
it's also pointing into the scene.
| | 05:25 | Finally, we need the light to cast shadows.
| | 05:27 | So go up to the 3D menu and choose
Ground Plane Shadow Catcher, so that we're
| | 05:31 | casting shadows on to that
ground plane right behind the letters.
| | 05:34 | If you get the alert message telling you
that you have to ray trace the scene to
| | 05:37 | see the shadows, go ahead and click OK.
| | 05:40 | And let's go ahead and
take a cue from that message.
| | 05:42 | I'll click on the scene at the top
of the 3D panel to select it, I'll go
| | 05:45 | ahead and switch back to my Rectangular
Marquee tool to get rid of all that 3D folderol,
| | 05:49 | and now let's go ahead and change
the Quality setting from Interactive
| | 05:53 | (Painting), to Ray Traced Draft, and
let Photoshop take a trial run at
| | 05:57 | rendering those shadows.
| | 05:58 | Now, this will probably take a few
minutes on your end, but you know what? Most
| | 06:02 | of the rendering gets
done in the first few passes.
| | 06:04 | So I'm just going to go ahead and click
onscreen in order to interrupt that ray
| | 06:07 | tracing process; hide the 3D panel as well.
| | 06:11 | And there you have it. We've got some
3D letters at a slight angle, set against
| | 06:14 | that wall, and pitched forward slightly,
casting shadows that are more or less in
| | 06:19 | keeping with the background photograph.
| | Collapse this transcript |
| Lifting masks from plain 3D letters| 00:00 | In this exercise, we're going to
generate a couple of masks, and we're going
| | 00:03 | to do so early, because the earlier you
can get your masks out of the way, the better.
| | 00:07 | And it's always easiest to lift those
masks when you have plain letters without
| | 00:11 | any diffuse textures.
| | 00:13 | I have saved my progress as
Original gray letters.psd, found inside
| | 00:17 | that 04_grunge folder. We need two masks.
| | 00:20 | We need to be able to mask the entire
letters; that is the face, the beveled
| | 00:24 | edges, and the extruded sides.
| | 00:26 | And then I need another mask for
just the faces, independent of the bevels
| | 00:30 | and the extrusions.
| | 00:32 | So let's get to work here.
| | 00:33 | I'm going to start things off by
blacking out the background, and you can do that,
| | 00:36 | in the case of this image, by turning
on that original shape layer right there.
| | 00:40 | And then go ahead and Shift+Click on
the Vector Mask to turn it off, and now
| | 00:45 | you're covering everything,
except for the 3D object, with black.
| | 00:48 | Now I'll double-click on the thumbnail
for the 3D object to bring up the 3D panel.
| | 00:53 | And let's go ahead and turn off the
ray tracing for a moment by clicking on
| | 00:56 | Scene, and then changing the
Quality back to Interactive (Painting).
| | 01:00 | Now turn off the light source;
we're not going to need it. And we want to
| | 01:04 | set the illumination options for the
Front Inflation, the Front Bevel, and the
| | 01:08 | Extrusion Material all to 100%.
| | 01:10 | So go ahead and click on that first
material, the Front Inflation, and then
| | 01:14 | click on the Illumination swatch,
and let's go ahead and take that
| | 01:16 | brightness value up to 100%.
| | 01:18 | Press the Enter or Return key
in order to light up those faces.
| | 01:21 | Now click on the next material
down, click on its Illumination swatch,
| | 01:25 | change the brightness value to 100%.
| | 01:27 | Press the Enter or Return key in
order to escape the dialog box.
| | 01:31 | Click on the Extrusion Material, click
on its Illumination swatch, change the
| | 01:35 | brightness to 100%, click
OK, and we've got our letters.
| | 01:39 | Now then, we need to render them so
that we don't have the jagged edges.
| | 01:42 | Go ahead and click on the Scene item
at the top of the panel, and change the
| | 01:45 | Quality setting to Ray Traced Draft.
| | 01:47 | And Photoshop should rip through
the rendering process fairly quickly.
| | 01:51 | Because we haven't done that much work
inside this image, we're just going to go
| | 01:54 | ahead and take the masks, and put them
in this image, as opposed to creating a
| | 01:58 | special mask file as we
did in the previous chapter.
| | 02:01 | So go over to the Channels panel, and
grab the Blue channel, just because it's
| | 02:05 | the nearest to the bottom, and drag it
and drop it onto that little page icon in
| | 02:10 | order to create a copy of that channel, and
let's go ahead and name this one all letters.
| | 02:15 | So we've got an Alpha channel; you can
see I've got another Alpha channel that
| | 02:18 | I've created for you.
| | 02:19 | We'll come back to that one later.
| | 02:21 | Now return to the RGB image, and then
back here in the 3D panel, go ahead and
| | 02:26 | restore the Quality setting to
Interactive (Painting), and let's also restore the
| | 02:30 | illumination values for the extruded
sides, as well as that contoured bevel.
| | 02:33 | Go ahead and click on Extrusion
Material, click on the Illumination swatch,
| | 02:37 | reduce that brightness value to 0%.
| | 02:40 | And then click on the Front Bevel,
click on its Illumination swatch, and reduce
| | 02:44 | that brightness value to
0 as well, then click OK.
| | 02:47 | All right, we haven't quite gotten rid
of everything. We're still seeing dark
| | 02:52 | gray versions of those beveled edges, as
well as the extruded sides, and that's
| | 02:56 | because we have a little
bit of ambient light going on.
| | 02:59 | So click on Scene to make it active, then
click on Global Ambient Color. Let's go
| | 03:04 | ahead and take that guy down to 0%,
| | 03:06 | bearing in mind that we'll need to
restore it to 50% before we're done.
| | 03:10 | Now click OK in order to accept that
change, and then, with Scene selected, let's
| | 03:16 | go ahead and render out the
scene by choosing Ray Traced Draft.
| | 03:19 | Again, Photoshop should fairly well rip
through this process, so it should take
| | 03:23 | about 30 seconds; maybe a minute.
| | 03:25 | But go ahead and let it finish so
you get the smoothest results possible.
| | 03:29 | All right; now let's, once again, create
a copy of that Blue Channel by dragging
| | 03:33 | it down onto the page icon. I'll
rename this new Alpha channel faces only.
| | 03:37 | Press the Enter key, or the Return
key, in order to accept that change.
| | 03:40 | Now, notice here inside the image
window that we do have a few sort of
| | 03:45 | corner artifacts going on.
| | 03:47 | And that's because, for whatever reason,
that face extrusion material is showing
| | 03:51 | up in the very corner of the letters.
| | 03:53 | We need to get rid of those little dots
there, and the easiest way to do that is
| | 03:57 | to select the Eraser tool, and then
change the mode up here in the options bar
| | 04:01 | from Brush, to Block.
| | 04:03 | Block is great, by the way. Notice
that the size of the block stays the same
| | 04:07 | even if you zoom out. Or if you want
more control, then you can zoom in, and you
| | 04:12 | have a tinier block, at least with
respect to the size of the image.
| | 04:15 | All right, I need my background color
to be black, so I'll press the X key, and
| | 04:19 | then I'll go ahead and just paint these
little guys away, and it's just a matter
| | 04:23 | of clicking on each one of these little items.
| | 04:26 | It's fairly mind-numbing work, quite frankly.
| | 04:29 | Now it looks like I've got everything.
I'll press Control+0, or Command+0, to zoom
| | 04:32 | out, and then zoom back in a little bit.
| | 04:35 | Switch back to that RGB image; click on the
Layers tab to switch back to the Layers panel.
| | 04:39 | All right, so we have our mask. Now the
image is kind of a mess, but we'll solve
| | 04:43 | that problem, as well as assign a
couple of materials, in the next exercise.
| | Collapse this transcript |
| Assigning a rusting grunge-metal material| 00:00 | In this exercise, we're going to assign
the materials that will ultimately lend
| | 00:04 | our text this grunge look.
| | 00:06 | Now, if you switch to the image at
hand, which is called Composition with
| | 00:09 | masks.psd, it looks like we're
pretty far away from our final goal.
| | 00:13 | But actually we're just a few steps
from regaining our original letters.
| | 00:17 | All you need to do, if you're working
along with me, is Shift+Click on that
| | 00:20 | vector mask for that shape layer right
there in order to turn the letters back
| | 00:24 | on, and then click on the eyeball
in order to turn that layer off.
| | 00:28 | Now double-click on the thumbnail for the
mercy 3D layer to bring up the 3D panel.
| | 00:32 | And with Scene active, go ahead and
restore the Quality setting to Interactive
| | 00:36 | (Painting), click on the Global
Ambient Color swatch in order to bring up the
| | 00:39 | color picker dialog box, change the
brightness value to 50%; click OK. Then
| | 00:44 | click on the Front Inflation material
right there, click on the Illumination
| | 00:48 | swatch, and let's go ahead and take
that brightness value back down to 0%.
| | 00:52 | And finally, turn on One infinite light
in order to relight the scene. All right!
| | 00:57 | So that's where we were before
we started creating the masks.
| | 01:00 | Now let's assign some diffuse
textures, and I've created those diffuse
| | 01:03 | textures in advance for you.
| | 01:05 | Let's check them out, and I
even have them open on screen.
| | 01:08 | The first one is called Grunge metal.
| | 01:10 | This one is for the face of the letters.
| | 01:12 | And notice that I have this
metallic background; another image from the
| | 01:16 | Fotolia Image Library.
| | 01:17 | I'm going to turn off the rust layer for
a second, and turn off the Smart Filters.
| | 01:21 | So you can see, originally we have
this kind of lackluster texture.
| | 01:25 | I decided to exaggerate the
Luminance levels, once again using the
| | 01:28 | Shadows/Highlights filter.
| | 01:30 | This is a slightly different take on things.
| | 01:32 | Notice if I double-click on Shadows/
Highlights to bring up the dialog box, we've
| | 01:36 | got some different values this time around.
| | 01:38 | Most notably, I took the Color
Correction value way up in order to exaggerate
| | 01:42 | the saturation values.
| | 01:43 | So it's just FYI; I
wanted you to see what I did.
| | 01:46 | I'm going to go ahead and
cancel out of that dialog box.
| | 01:48 | The other item we have here is this
layer called rust, and it's actually a Smart
| | 01:53 | Object that contains a
couple of repeated images.
| | 01:56 | I'm going to go ahead and
click on it to make it active.
| | 01:58 | Notice it's set to the Multiply mode.
| | 01:59 | These are real photographic rust
trails that have been repeated a couple
| | 02:03 | of times, you can see.
| | 02:04 | But the most interesting thing is that
I went ahead and slanted these trails.
| | 02:09 | So, if you select that rust layer, and
then you go out to the Edit menu and
| | 02:12 | choose Free Transform, or
press Control+T, Command+T on the Mac.
| | 02:16 | Because we're working with the Smart
Object, I can see the angled bounding box
| | 02:19 | for my transformation.
| | 02:21 | Now unfortunately, when you're working
with Smart Objects inside Photoshop, you
| | 02:24 | don't see the slant value
up here in the Options bar.
| | 02:27 | But I wanted to match that 7 degree tilt
that I had applied to the letters, so that
| | 02:33 | once I apply this diffuse texture, the
rust trails appear to be going straight down.
| | 02:37 | And so if had a skew value,
I'd actually enter 7 degrees;
| | 02:41 | that would work perfectly.
| | 02:42 | But as it is, I had to
kind of eyeball the thing.
| | 02:45 | Anyway, I just wanted you to see what's up.
| | 02:47 | I'll go ahead and press the Escape key in
order to leave that Free Transform mode.
| | 02:50 | Now I'm going to switch back to my
composition at hand. Double-click on the
| | 02:54 | thumbnail for the mercy 3D
layer to bring up the 3D panel.
| | 02:57 | And then, if you're working along with me,
select that Front Inflation to make it
| | 03:01 | active, and let's go ahead and load up
that diffuse texture by clicking on the
| | 03:05 | folder to the right of the word Diffuse,
and choosing the Load Texture command.
| | 03:09 | And then navigate your way to the 04
_grunge folder, and find that Grunge
| | 03:13 | metal.psd file, and click on the Open
button in order to apply it to the letters.
| | 03:18 | Now I want to make a few
modifications to my material attributes.
| | 03:21 | For starters, I'm going to
increase the Gloss value to 50%.
| | 03:24 | Now, notice when I do that, I end up
getting this kind of gray film on the
| | 03:29 | surface of the letters,
| | 03:30 | and that is definitely not
something I'm looking for.
| | 03:33 | I can get rid of that film by reducing
the size of the Gloss, which you do by
| | 03:38 | increasing the Shine value, and that
goes ahead and gives you pinpoint control
| | 03:43 | over those specular highlights. All right!
| | 03:45 | Now drop down to the Ambient swatch,
click on it, and let's take the brightness
| | 03:49 | value all the way down to 35%, and then
click OK in order to accept that change.
| | 03:54 | Now, notice at this point the rust trails
that are sliding down the letters. They
| | 03:58 | appear to be pretty perpendicular.
| | 04:00 | And you can check out whether they're
straight up and down by drawing a marquee
| | 04:03 | with your Rectangular Marquee tool, and
then just moving one of the edges of the
| | 04:06 | marquee against one of those rust trails.
| | 04:09 | It looks pretty good to me.
| | 04:10 | However, if it didn't look quite
right, then all you would do is go ahead
| | 04:14 | and click on this little page icon next to
the word Diffuse, and then choose Open Texture.
| | 04:18 | And then, because those rust trails are
Smart Objects, you could go ahead and
| | 04:21 | apply the Free Transform command.
| | 04:23 | And I should show you this, by the way.
| | 04:25 | I'll go head and choose that command,
and then I'll click on rust, I'll go ahead
| | 04:29 | and zoom out a little bit, go up to
the Edit menu, choose Free Transform.
| | 04:33 | And the reason I'm showing you this is
I want you to note that you can change
| | 04:37 | the skew angle of those rust lines by
pressing the Control key, or the Command key
| | 04:42 | on the Mac, and dragging that top handle.
| | 04:44 | Again, I'm just telling you that in
case you encounter these sorts of problems
| | 04:47 | as you're working through your own images.
| | 04:50 | In my case, I'm going to press the
Escape key, and then close the image. Click
| | 04:53 | the No button on the PC, or the Don't save
button on the Mac, to return to your 3D composition.
| | 04:58 | The final thing I want you
to do is save this material.
| | 05:01 | So go ahead and click on the sphere in
order to bring up that Materials pop-up
| | 05:06 | panel, and then click the right
pointing arrow head, choose New Material, and
| | 05:09 | let's go ahead and call this guy
Grunge metal, and then click OK. All right!
| | 05:14 | So we've managed to dress up the faces of
the letters using a grunge metal material.
| | 05:19 | In the next exercise, we'll
assign a variation on that material to the
| | 05:23 | beveled edges and extruded sides.
| | Collapse this transcript |
| Creating matching faux-gold bevels| 00:00 | In this exercise, we're going to assign
a different material to both the beveled
| | 00:04 | edges, and the extruded sides, while at
the same time matching the appearance of
| | 00:08 | the material that's assigned to those faces.
| | 00:11 | I've saved my progress as Metallic faces
.psd, found inside the 04_grunge folder.
| | 00:16 | And the first thing I'd like you to do
is go ahead and bring up the 3D panel by
| | 00:20 | double-clicking on the 3D thumbnail,
and then click on the Front Bevel Material,
| | 00:24 | and go ahead and assign that material
that you've already created in advance.
| | 00:28 | So click on the sphere, and then select
Grunge metal, which if you've been working
| | 00:32 | along with me, is going to be
the last material in the list.
| | 00:35 | And then you can press the Enter key, or
the Return key on the Mac, to hide that panel.
| | 00:38 | All right; so at this point, the
bevel too closely matches the letters.
| | 00:43 | And you have to ask yourself, why would
anybody create a bevel like this that
| | 00:47 | doesn't look any different than the face?
| | 00:49 | Presumably, once upon a time, when these
letters were in great shape, and they'd
| | 00:53 | just been shipped out of the factory,
before they fell into disrepair, they had
| | 00:57 | these nice, sparkling, golden bevels.
| | 01:00 | Let me show you how I created that texture.
| | 01:02 | I'll go ahead and switch over to
this image called Matching gold.psd.
| | 01:06 | Now, right now it looks quite different
from that grunge metal texture that we
| | 01:09 | applied in the previous exercise, but
it's actually almost the same thing.
| | 01:14 | I'm going to go up here to the Window
menu, and choose the Layer Comps command.
| | 01:18 | That will bring up the Layer Comps
panel, and you can see that I've got
| | 01:20 | this Final gold comp.
| | 01:22 | But if you click in front of Original
grunge, that is that same grunge metal
| | 01:26 | texture that we applied in the
previous movie. Let me show you how I
| | 01:30 | converted it to gold.
| | 01:31 | First of all, I went ahead and found a
gold image in the Fotolia Image Library,
| | 01:35 | once again, and I brought
it into the composition.
| | 01:38 | So I'll go ahead and turn that gold layer on.
| | 01:40 | Notice that it's located between rust and metal.
| | 01:43 | And then I went ahead and changed its
blend mode from Normal, to Overlay, so that
| | 01:47 | it's increasing the contrast and
intensity of the metal layer below.
| | 01:52 | Then I switched to the rust layer, and
at this point I decided my rust was kind
| | 01:56 | of dropping out a little bit.
| | 01:58 | That degree of rust looked great against
that sort of dead metal background there.
| | 02:02 | But against this enhanced
gold, it's not quite competing.
| | 02:05 | So I went ahead and bumped up the
blend mode from Multiply, to Linear Burn, and
| | 02:11 | that gave me a more intense effect,
but it's a little bit too red.
| | 02:14 | So I took the Opacity value back to 100%;
notice that I had it set to 65% before.
| | 02:19 | And then I decided to reduce the
Fill value to nearly the exact same
| | 02:23 | value; actually 60%.
| | 02:26 | And notice that we get a
pretty different result.
| | 02:29 | So Linear Burn is one of those eight
blend modes inside Photoshop that reacts
| | 02:33 | differently to Fill than it
does to the Opacity value.
| | 02:36 | All right, so that's the final gold
effect, and it does match the original metal
| | 02:40 | texture, because after all, it's
built from the exact same file.
| | 02:44 | All right. I'm going to switch back to
my composition, let's bring up the 3D
| | 02:47 | panel once again, make sure that Front
Bevel Material is selected, and let's go
| | 02:52 | ahead and switch to Diffuse Texture by
clicking on the little page next to the
| | 02:55 | word Diffuse, and choosing
the Load Texture command.
| | 02:58 | And then find a file called Matching gold
.psd, inside the 04_grunge folder, and go
| | 03:03 | ahead and click Open to open it on up.
| | 03:05 | And you'll note that the texture
details flow uniformly from the faces of the
| | 03:09 | letters into those beveled edges.
| | 03:11 | All right, now let's go ahead and
save out this material by clicking on the
| | 03:15 | sphere, clicking on the right-
pointing arrow head, choose the New Material
| | 03:18 | command, and let's go ahead and call
this guy Matching gold, and then click OK.
| | 03:23 | All right; press the Enter key, or the
Return key on the Mac, in order to hide
| | 03:26 | that list, then click on the Extrusion
Material, click on the sphere again, and
| | 03:30 | go ahead and select that material you
just created at the bottom of the panel.
| | 03:35 | And that will dress up those
extruded sides. All right!
| | 03:37 | Then press the Enter key, or the Return
key on a Mac, in order accept that change.
| | 03:41 | All right, folks!
| | 03:41 | That's all there is to the
3D part of this technique.
| | 03:44 | So let's go ahead and render out our
scene by clicking on the word Scene, and
| | 03:48 | then changing the Quality
setting to Ray Traced Draft.
| | 03:51 | And that'll tell Photoshop to
ahead go and render out those shadows.
| | 03:55 | But in my case, Photoshop is making a mistake.
| | 03:57 | I'm going to ahead and click in order to
interrupt the process, and I'll hide the
| | 04:00 | 3D panel as well, and I'll go ahead and zoom in.
| | 04:03 | Do you notice these little squares that
are showing up in the beveled edges, and
| | 04:07 | they're not showing up on the
interior of the faces of the letters?
| | 04:10 | That is an error on Photoshop's part.
| | 04:14 | If you run into these kinds of
computational problems, fundamentally a materials
| | 04:18 | error, then here's how to solve them.
| | 04:20 | First, go ahead and bring back up
that 3D panel, click on the Front Bevel
| | 04:24 | Material, since that's what's going wrong for us.
| | 04:26 | Then click on the Illumination swatch
and crank that Illumination value up to
| | 04:31 | 100%, and press the Enter key,
or the Return key on the Mac.
| | 04:35 | That just goes ahead and
blanks out those bevels.
| | 04:37 | Now you can click inside the image
window to interrupt that rendering process,
| | 04:41 | and let's go ahead and reapply the
material by clicking on that white sphere,
| | 04:46 | and then go ahead and select Matching gold
from the list in order to reapply the material.
| | 04:51 | And that's pretty much all it takes.
| | 04:52 | You just have to refresh the scene, and that
tells Photoshop to recompute the material.
| | 04:57 | All right; I'm going to go ahead
and click inside the image in order to
| | 04:59 | interrupt that process, because it's not going
to get messed up in the middle of a ray trace.
| | 05:03 | I'll also hide the 3D panel, and zoom out
so that I can take in the entire image.
| | 05:09 | Now I'll go to the 3D menu, and choose
Resume Progressive Render in order to tell
| | 05:13 | Photoshop to complete the ray tracing process.
| | 05:16 | Now for you, the ray tracing
will probably take a few minutes.
| | 05:18 | We, as usual, are going to speed
the heck out of this process.
| | 05:21 | So thanks to the magic of video editing,
here are the final ray traced letters.
| | 05:26 | That's it for the 3D part of this technique.
| | 05:28 | But we have lots of additional 2D
modifications left to achieve our final goal,
| | 05:34 | so keep watching.
| | Collapse this transcript |
| Tracing the faces of your letters| 00:00 | All right; now that we're finished with
our 3D work, it's time to get started with
| | 00:03 | the 2D modifications, and these
remaining steps fall under the headings of
| | 00:07 | clarification, and integration.
| | 00:09 | So we want to be able to clarify the
existing details inside the image, so we get
| | 00:13 | an authentic grunge effect, and we
want to go ahead and integrate these 3D
| | 00:17 | letters with the photographic background.
| | 00:19 | Now, I've got a file open that
includes a few layer comps. I'll bring up the
| | 00:22 | Layer Comps panel so that you can see;
I've gone ahead and clicked in front of
| | 00:26 | the one that represents our progress so far.
| | 00:28 | And now I'm going to walk through the
other layer comps from the keyboard.
| | 00:31 | So our next step will be to outline the
faces of the letters, so that we have a
| | 00:35 | kind of seam between the faces and the
beveled edges, and then I'm going to add
| | 00:39 | some stains to the wall beneath the letters.
| | 00:42 | I figured that the letters must be
hanging from something, so I went ahead and
| | 00:45 | added some heavy-duty wires. And what
grunge effect would be complete without
| | 00:49 | some sort of crack in the letters,
like that crack right there in the R?
| | 00:53 | And then here's my biggest
frustration with this file so far:
| | 00:56 | we've got these awesome shadows being cast by
the letters onto the wall in the background,
| | 01:01 | however, the wall itself has no shadows
to speak of. So this stucco, or plaster, or
| | 01:07 | whatever it is that's been cut away
from the brick isn't casting a shadow, and
| | 01:11 | that's because the original
photograph had very flat lighting.
| | 01:14 | So we're going to have to step in and
give the photograph some shading of its
| | 01:17 | own by adding this shadow right there
beneath the wall that's being cast onto
| | 01:22 | the rock. And yes, that is a 2D effect. In
fact, it's a drop shadow, believe it or not.
| | 01:28 | And then lastly, inside Photoshop anyway,
we're going to go ahead and elevate the
| | 01:32 | contrast of the image. And then
finally, we're going to take the image into
| | 01:36 | Camera RAW, give it a vignette,
and a little bit of sharpness.
| | 01:39 | All right, so that's what's coming.
| | 01:42 | Let's start things off
with the easiest of the steps.
| | 01:44 | I've saved my progress as Rendered 3D
letters.psd, found inside the 04_grunge folder.
| | 01:50 | And I'm going to go the Channels
panel, and Control+Click, or Command+Click, on
| | 01:54 | the faces only channel. And that will
go ahead and load that Alpha Channel as
| | 01:58 | a selection outline, so we're selecting
the interior of the letters, and nothing more.
| | 02:02 | All right, now I'm going to switch
back to the Layers panel, and now let's
| | 02:05 | create a new layer by pressing Control+
Shift+N, or Command+Shift+N on a Mac, and
| | 02:09 | I'm going to call this
layer interiors, and click OK.
| | 02:12 | Now I want you to fill this selection with
some color; it really doesn't matter what color.
| | 02:17 | For my part, I'm going to press Alt+
Backspace, or Option+Delete, to fill the
| | 02:21 | letters with black. And then press
Control+D, or Command+D on the Mac, in order
| | 02:25 | to deselect the image.
| | 02:27 | All right; now take that Fill value,
not Opacity, but Fill, and set it to 0% so
| | 02:31 | that we're getting rid of the black fill.
| | 02:34 | However, we can still add a layer effect.
| | 02:37 | So I am going to drop down to the fX
icon at the bottom of the Layers panel, and
| | 02:41 | I'm going to choose Inner Glow. And
then let's go ahead and move the dialog box
| | 02:45 | out of the way a little bit.
| | 02:47 | I'm going to define a color by
clicking on the color swatch, and the color
| | 02:49 | I'm using is a kind of dull orange. So
I'm going to change the hue value to 30
| | 02:53 | degrees, saturation to 50%, and the
brightness value to 50% as well, then click OK.
| | 02:59 | Now, because the Blend Mode is set to
Screen, we're not really seeing much of an
| | 03:02 | effect at this point.
| | 03:04 | Let's go ahead and burn in the effect
by choosing a darkening mode, such as
| | 03:08 | multiply, which would work pretty nicely,
but you can see that things are fairly
| | 03:11 | tepid at this point.
| | 03:12 | I'll go ahead and take the Size value
up to 15 pixels so you can see the effect
| | 03:16 | a little better, but it just doesn't
have enough punch to it, in my opinion. So
| | 03:20 | I'm going to redouble the effect by
stepping the Blend Mode up from Multiply, to
| | 03:24 | Linear Burn, and that gives us
a much darker, crisper effect.
| | 03:28 | Now it's a little bit over the top,
in my opinion, so I'm going to take the
| | 03:31 | Opacity value down to 35%.
| | 03:34 | So there we have it; Linear Burn for
the Blend Mode, 35% for Opacity, a kind of
| | 03:39 | dull, orangish brown for the Color,
and a Size value of 15 pixels.
| | 03:43 | Then go ahead and click OK in
order to accept that modification.
| | 03:46 | All right, so at this point you might
figure, ho-hum, that was easy to pull off,
| | 03:51 | but it was only so easy because
we were able to mask the interior of those
| | 03:55 | letters. Imagine if we didn't have that
mask to work with in the first place. If
| | 03:59 | I had to select those letter faces using
something like the Quick Selection tool,
| | 04:03 | I would go absolutely insane.
| | 04:05 | That would be an unbelievably time-
consuming chore, and the results would look awful.
| | 04:10 | So there you go. Create your masks
early, and you're going to do yourself a big
| | 04:13 | favor in the long run.
| | 04:14 | In the next exercise, I'll show you how
to add the stains underneath the letters.
| | Collapse this transcript |
| Painting in the back-alley slime trails| 00:00 | In this exercise, I am going to show
you how to create these slime trails
| | 00:03 | underneath the letters.
| | 00:05 | If you're working along with me, go
ahead and scroll down your Layers panel,
| | 00:08 | click on the smear layer to make
it active, and turn it on as well.
| | 00:12 | Now, if I were to Alt+click, or Option+
click, on the eyeball in front of the
| | 00:15 | smear layer, you'll see this red slime set
against a transparent checkerboard background.
| | 00:20 | You may even recognize
this slime from Chapter 01.
| | 00:24 | In fact, this is the very same smear pattern
that I used to create that thriller effect.
| | 00:28 | And this is kind of an M.O. for me; if I
spend a sufficient amount of time on an
| | 00:32 | asset, especially if it requires a lot
of hand-tweaking, then I am very likely to
| | 00:36 | use that asset over and over
again throughout my artwork.
| | 00:40 | So what starts off as a kind of blood
smear can be repurposed in a matter of
| | 00:45 | minutes into this kind of slime trail.
| | 00:47 | So let me show you how that works.
| | 00:49 | Now, for starters, I have already
flipped the pattern upside down.
| | 00:51 | I have gone ahead and
stretched it horizontally as well.
| | 00:54 | We need to make a few other modifications.
| | 00:56 | So I will go ahead and Alt+click, or
Option+click, on the eyeball in front of
| | 00:59 | smear in order to reinstate those
previously visible layers, and I am going to
| | 01:03 | press Control+Minus, or Command+Minus on
the Mac, to zoom out a click here.
| | 01:07 | Then I'll go up to the Edit menu, and
choose the Free Transform command, or you
| | 01:10 | can press Control+T; Command+T on the Mac.
| | 01:13 | I am going to start things off by
reducing the height of the graphic, and I want
| | 01:17 | it to be about 52%, and I am going to
go ahead and dial in that specific value
| | 01:22 | here in the H field in the Options bar.
| | 01:24 | Now, the next trick is to go ahead and
slant the smear, and you can do that by
| | 01:28 | pressing the Control and Shift keys, or
the Command and Shift keys on the Mac, and
| | 01:32 | then dragging up on that right-hand handle.
| | 01:35 | You may figure you just have to kind
of eyeball things, or you would go ahead
| | 01:38 | and drag the bounding box up a little
bit, so that you can see if the angle of
| | 01:42 | the top of the bounding box
matches the angle of letters.
| | 01:45 | However, you may recall that the
angle of these letters is exactly 7 degrees.
| | 01:50 | If you take a look at the V value up
here in the Options bar, you can see
| | 01:53 | it's approximately -7 degrees;
| | 01:56 | it should be exactly -7 degrees.
| | 01:59 | And then I am going to Shift+drag the
smear trail down a little bit, so that the
| | 02:03 | ends of the drips appear below the
letters, and I am going to go ahead and zoom
| | 02:07 | in so I have a little more control.
| | 02:08 | I want this guy to land right here at Y: 687.
| | 02:13 | So that should be the Y coordinate
value, assuming that that little delta is
| | 02:16 | off, the triangle should not be selected,
and that the center reference point is active.
| | 02:21 | That way, you and I get exactly the same result.
| | 02:24 | Press the Enter key, or the Return key,
a couple of times in order to accept
| | 02:28 | that transformation. All right!
| | 02:30 | Next, I'd like you to change the
blend mode of this layer to Multiply.
| | 02:34 | Now, that gives us a deep
red, almost bloody effect.
| | 02:37 | The letters should not be
bleeding onto that wall;
| | 02:40 | they should be kind of rusting on to it.
| | 02:42 | So let's go ahead and change the color
of this effect here, not by dialing in a
| | 02:46 | new color and filling the smear with
that color. Rather, what I am going to
| | 02:50 | suggest we do is change the virtual
color by reducing the Fill value to 0, and
| | 02:55 | here is a little trick.
| | 02:57 | Many of you know that you can press
Shift along with a number in order to
| | 03:00 | change that Fill value.
| | 03:01 | So Shift+6 gives you 60%, but more
often than not, I'm flitting back between
| | 03:06 | 100%, which is Shift+0, and 0%,
which doesn't have a keyboard shortcut.
| | 03:11 | So if you want to quickly dial in a
Fill value of 0, press the Shift key, and go
| | 03:16 | ahead and scrub that Fill value to the left.
| | 03:19 | That's the quickest way I know to do it, anyway.
| | 03:21 | So we want a Fill value of 0, then I
am going to drop down to the fX icon, and
| | 03:26 | choose Color Overlay.
| | 03:27 | And I am going to click on the color
swatch, because by default, Color Overlay
| | 03:32 | delivers an even brighter
shade of red than we had before.
| | 03:34 | I'm going to change the hue value to 30
degrees, saturation value to 90%, and the
| | 03:38 | brightness value to 40%, so
kind of a grim, dirty brown.
| | 03:42 | Click OK, and then we will
change the Blend Mode to Multiply.
| | 03:46 | Click OK in order to accept that color.
| | 03:48 | Now let's go ahead and mask
the smear behind the letters.
| | 03:51 | We are just going to hand
paint this mask for the most part.
| | 03:54 | So go ahead and click on the Add layer
Mask icon at the bottom of the Layers
| | 03:57 | panel, and then select the Brush tool,
which you can get by pressing the B key.
| | 04:02 | Make sure that the blend mode is set to Normal.
| | 04:04 | The Opacity should start out at 100%,
and we're going to be painting with black,
| | 04:08 | so I'll press the X key to
make the foreground color black.
| | 04:12 | And I'm also going to increase
the size of my brush a little bit.
| | 04:15 | Let's see how big it is; it's
150 pixels, and the Hardness is 0%.
| | 04:19 | That's very important.
| | 04:20 | Press the Enter key, or the Return key
on the Mac, in order to hide that pop-up
| | 04:23 | panel, and then just go ahead and paint
on the right side of that Y in order to
| | 04:28 | get rid of some of that smear.
| | 04:30 | And then I am also going to paint on the
left side of the M to get rid of that area.
| | 04:35 | And I am going to paint back and forth
behind the letters, like so, in order to
| | 04:40 | get rid of any of the brown behind
those letterforms, because they wouldn't be
| | 04:44 | casting the slime in that direction.
| | 04:47 | Now we need to go ahead and paint
between the letters, but if I just start
| | 04:50 | painting in at 100% Opacity, we get some
pretty obvious breaks in the slime, and
| | 04:55 | the result isn't necessarily
as natural as I am looking for.
| | 04:58 | So an opaque brush stroke between
the C, and the Y; that works out okay.
| | 05:01 | But if I reduce the size of my brush,
and try to paint between the R, and the C,
| | 05:05 | we get an awfully bright stripe left in
between those letters. And if I do the
| | 05:08 | same inside the R, again, a very bright stripe.
| | 05:12 | So the reason I am bringing this up, and
the reason I keep painting, by the way,
| | 05:15 | even though I'm not liking the results,
is because then we'll come back, after I
| | 05:20 | paint between all these gaps, and paint
with white at a reduced Opacity level.
| | 05:24 | So I've gone ahead and painted down
the center of the R, between the R and E,
| | 05:29 | between the E and the M, and down the
gaps inside of the letter M as well.
| | 05:33 | Now I am going to press the x key
to make my foreground color white.
| | 05:36 | I am going to increase the size of my
brush, and I'm going to press the 5 key to
| | 05:40 | reduce the Opacity to 50%.
| | 05:42 | And now I will go ahead and paint back
in those areas that I just painted away a
| | 05:46 | moment ago, and I may paint a couple of times
if I want to reinstate more slime. All right!
| | 05:50 | At this point things are looking pretty good.
| | 05:52 | I am just going to take a few
more stabs at the slime here.
| | 05:56 | And basically, my impression is that
more slime is better, because that gives us
| | 06:00 | a higher impact grunge effect.
| | 06:03 | Now I am going to press the 0 key to
take the Opacity level back up to 100%, and
| | 06:08 | I am going to paint under that R;
| | 06:09 | I kind of went too far in a few
places here when I was painting back and
| | 06:14 | forth behind the letters.
| | 06:15 | And now, just to make sure that my mask
is in pretty good shape, I'll Alt+click,
| | 06:19 | or Option+click, inside of the layer mask
thumbnail here in the Layers panel, and
| | 06:24 | now press the X key in order to switch
my foreground color to black, and I am
| | 06:28 | going to paint this top area,
like so, just to fill it with black.
| | 06:33 | And then I may paint along here just a
little bit, because I don't want to be
| | 06:38 | revealing too much slime in these regions.
| | 06:41 | Now, if you were to size up this mask,
it's not the most accurate thing on
| | 06:44 | earth, but it does the job.
| | 06:46 | We are just looking for a kind of
subjective effect at this point.
| | 06:48 | So go ahead and Alt+click or Option+
click on that layer mask thumbnail again to
| | 06:52 | return to the full color image.
| | 06:54 | I am going to do one more thing.
| | 06:55 | I am going to go to the Channels
panel, and I am going to Control+click, or
| | 06:58 | Command+click, on the all letters channel in
order to load that as a selection outline.
| | 07:03 | I am going to switch back to the Layers panel.
| | 07:06 | Press the M key to switch back
to the Rectangular Marquee tool.
| | 07:09 | My foreground color is black, so I
am going to press Alt+Backspace, or
| | 07:12 | Option+Delete, to fill those letters with
black there inside the layer mask. All right!
| | 07:17 | Now, press Control+D, or Command+D on
a Mac, in order to deselect the image.
| | 07:21 | I didn't have to do that, because any
of the slime that I just got done masking
| | 07:25 | away is actually covered up by this
3D layer right there, but this actually
| | 07:30 | provides me with some additional flexibility.
| | 07:32 | Because what I can do, if I want to, I
can go ahead and turn off that 3D layer
| | 07:37 | and I leave a wake of the
letters in the background.
| | 07:40 | So this is a fairly realistic effect.
| | 07:42 | If we were to take these letters
down in real life, that slime residue
| | 07:45 | would remain on the wall.
| | 07:47 | Anyway, I am going to go ahead and
turn that mercy 3D layer back on.
| | 07:50 | And one final modification; I am going
to switch back to the smear layer, and
| | 07:54 | let's go ahead and reduce the Opacity
of that smear by pressing the A key, and
| | 07:58 | that takes the Opacity value down to 80%.
| | 08:01 | So much for the slime trail. In the
next exercise, I will show you how to create
| | 08:05 | those heavy-duty wires.
| | Collapse this transcript |
| Simulating heavy-duty 3D wires| 00:00 | In this exercise, I'm going to show you
how to create the wires that are holding
| | 00:04 | up the sign, and if you scroll to the
bottom of Layers panel you'll find a
| | 00:07 | layer called wires.
| | 00:08 | Go ahead and turn it on, as well
as click on the layer to select it.
| | 00:12 | All we're seeing here is a couple of very
thin rectangles that are filled with gray.
| | 00:16 | So, for example, let's say I
wanted to add another wire.
| | 00:19 | I'd go ahead and click on the Vector
Mask thumbnail here inside the Layers
| | 00:22 | panel to make it active.
| | 00:24 | Then I would get my black arrow tool,
which I can select by pressing the A key,
| | 00:28 | and I would click on one of these
rectangles to select it. And then I'd press
| | 00:31 | the Shift+Alt keys, or the Shift+Option
keys on the Mac, and then drag this line
| | 00:35 | to a different location,
and that would create a copy.
| | 00:38 | That's what I did, by the way.
| | 00:40 | I drew one very thin rectangle, and
duplicated it to create the other wire.
| | 00:44 | Anyway, I just want two wires.
| | 00:45 | So I'm going to press the Backspace key,
or the Delete key on the Mac, in order to
| | 00:49 | get rid of that clone.
| | 00:50 | I'm also click on the layer mask
thumbnail, once again, in order to hide those
| | 00:54 | path outlines, and I'm going to zoom
in quite a bit on this gray rectangle
| | 00:58 | above the Y, so that I can keep a close eye
on the layer effects that I'm about to apply.
| | 01:03 | Press the M key to switch back to the
Rectangular Marquee tool, and then drop
| | 01:06 | down to the fX icon at the
bottom of the Layers panel.
| | 01:09 | I'm going to start with an Inner Shadow,
because I want to create little bit of
| | 01:13 | a highlight along this left-hand edge.
| | 01:15 | The Global Light angle is set to 120%
for this file; that's just fine.
| | 01:19 | I'm going to click on the color swatch,
change the color to white, click OK, and
| | 01:23 | change the Blend Mode from Multiply,
to Screen, so that we get a bright edge.
| | 01:28 | Then I'm going to take the
Opacity value down to 55%.
| | 01:30 | I'm also going to take both the
Distance and Size values down.
| | 01:35 | So I'll take the Distance value down to
1, and the Size value down to 1 as well.
| | 01:39 | So we have this very thin highlight.
| | 01:41 | I want to call a little
bit of attention to the wire.
| | 01:44 | So I'm going to trace it with a slight
Outer Glow, and it's really going to be a
| | 01:48 | kind of shadow when we get down with it.
| | 01:49 | Go ahead and click on Outer Glow to
select it, click on the color swatch, let's
| | 01:53 | change it to black this time around; click OK.
| | 01:56 | Change the Blend Mode from Screen, to Multiply.
| | 01:59 | So we're pretty much
inverting all the effects so far.
| | 02:01 | The Inner Shadow is actually a highlight;
| | 02:03 | the Outer Glow is actually a shadow.
| | 02:05 | I'm going to take the Opacity value
down to 55% again, and I'm going to take the
| | 02:09 | Size value down to 1.
| | 02:11 | So we get just a slight
tracing effect around that wire.
| | 02:15 | All right; now let's add a shadow.
| | 02:16 | Move the Layer Style
dialog box over a little bit.
| | 02:19 | Click on the Drop Shadow in order
to make it active, and you can see the
| | 02:22 | default settings here.
| | 02:23 | The shadow is black, it's set to Multiply,
an Opacity value of 75%, the Angle is
| | 02:28 | 120, the Size is 5 pixels;
| | 02:31 | I'm going to leave all those settings
alone. The only value I'm going to change
| | 02:34 | is Distance, and I'm going to raise it
to 20 pixels, so that we're creating a
| | 02:38 | little depth in our scene.
| | 02:39 | In other words, the wires are,
perhaps, an inch away from that wall.
| | 02:43 | Finally, I wanted to give a
sense of texture to these wires.
| | 02:46 | So I clicked on Pattern
Overlay to make it active.
| | 02:49 | Click on the big, blue pattern.
| | 02:51 | By default, Photoshop only offers you
two patterns at all, but there are lots
| | 02:54 | more to choose from.
| | 02:55 | Go ahead and click on right-pointing
arrow head and choose the Patterns library
| | 02:59 | from the bottom of list.
| | 03:00 | Photoshop will ask you, hey, do you
want to append these patterns, or just
| | 03:03 | overwrite the current ones?
| | 03:05 | Well, the Patterns
library includes these two guys,
| | 03:07 | so go ahead and click OK in order to
overwrite those two patterns; there they are.
| | 03:11 | The one we're looking for is Optical Squares.
| | 03:14 | At least, that's the one that I
thought provided the best effect.
| | 03:17 | So go ahead and click on Optical
Squares to make it active. And then I kind
| | 03:21 | of dragged around inside of the image window
here, and I ultimately came up with this effect.
| | 03:28 | So in other words, we're seeing these
kind of vertical line with 1, 2, 3, 4, 5,
| | 03:31 | 6 little horizontal stripes, and then
another vertical line, and so forth. And I'm
| | 03:37 | seeing three stripes at
the top, and approximately --
| | 03:40 | let's drag this up a little bit --
three stripes of the bottom as well.
| | 03:44 | You can go your own way. You don't have
to do exactly what I'm doing, but I just
| | 03:48 | wanted to give you a
sense of what I came up with.
| | 03:51 | That actually ends up working out
very nicely for the other wire as well.
| | 03:55 | Let's reduce the Opacity value to 75%,
and then I'm going to change the Blend
| | 03:59 | Mode from Normal, to Multiply, so that
we burn those lines into the gray wires.
| | 04:05 | Click OK in order to accept the effect.
| | 04:06 | Press Control+0, or Command+0 on a Mac, in
order to zoom the image out, so it fits on screen.
| | 04:12 | So that's my simulation of 3D
wires using 2D layer effects.
| | 04:16 | Now, I am taking a fair amount of care,
you may have noticed, to make the scene as
| | 04:19 | realistic as possible, but
here's something I'm overlooking.
| | 04:23 | So just in case you have a keen eye, it's
pretty interesting that we have a wire
| | 04:27 | holding up the M and the Y as if all
of these letters are connected to each
| | 04:31 | other, but what in the world is
connecting the letters together?
| | 04:33 | Well, I played around with a few
different treatments of bars in the background;
| | 04:37 | I just didn't like them, and I just
didn't feel like the scene needed that.
| | 04:40 | So we're just assuming that the viewer
of our scene is okay with some sort of
| | 04:44 | invisible connection.
| | 04:45 | In the next exercise, I'll show you
how to create that crack in the R.
| | Collapse this transcript |
| Adding a crack to any letter| 00:00 | In this exercise, I'll show you how to
create a crack through the letter R, but
| | 00:04 | we're going to set things up so you
can move this layer around, and create a
| | 00:07 | crack through any letter you'd like.
| | 00:09 | I've saved my progress as Heavy-duty
wires.psd, found inside the 04_grunge
| | 00:14 | folder, and now I'm going to select the crack
layer, and turn it on here inside the Layers panel.
| | 00:18 | Now I can barely see it.
| | 00:20 | It appears right here behind the R.
Obviously, that's not where we want it to
| | 00:24 | be; we want it to be higher in the stack.
| | 00:26 | So I'll go ahead and scroll up my list
a little bit, and drag the crack layer up
| | 00:30 | the stack, and drop it between
mercy 3D, and the interiors layers,
| | 00:35 | so it's directly in front of the 3D type.
| | 00:38 | Now I'm going to go ahead
and zoom in on this layer.
| | 00:40 | The first thing we need to do is mask
away this blue stuff, and leave the green
| | 00:45 | stuff in the background.
| | 00:46 | So this used to be a big, old
photographic file, because I just want this little
| | 00:51 | bit of crackage here, but I wanted it
to be a nice deep crack, because after all,
| | 00:55 | these letters have a lot of depth.
| | 00:57 | The best way to mask this crack, in my
humble opinion, is to go ahead and grab a
| | 01:03 | tool that you probably don't use very
often, which is the Magnetic Lasso tool.
| | 01:06 | Normally it's a really labor-intensive tool.
| | 01:09 | I don't use it all that often, quite frankly.
| | 01:11 | However, for this kind of
stuff, it can be very useful.
| | 01:14 | So I'm just going to click out here;
notice that I'm clicking outside of the
| | 01:18 | layer, and then I'm just going to
kind of move my cursor along the crack.
| | 01:21 | I'm not clicking, or dragging, or anything;
| | 01:23 | I'm just moving my cursor along until
I get well outside the layer. And then
| | 01:28 | I'll go ahead and click at these
corners here, and ultimately double-click in
| | 01:32 | order to create a selection around
this lower right region. All right!
| | 01:36 | I want to mask the selected area away.
| | 01:38 | With the crack layer selected, I'll
drop down to the bottom of the Layers
| | 01:41 | panel, and I'll press the Alt key, or the
Option key on a Mac, and click on the
| | 01:45 | Add layer mask icon.
| | 01:46 | So by virtue of the fact that I Alt+
clicked or Option+clicked, I got rid of the
| | 01:50 | selection, as opposed to keeping it.
| | 01:53 | Now let's draw another selection, again
using the Magnetic Lasso, but this time
| | 01:56 | around the top area.
| | 01:58 | I'll click right about there, and then
just move my cursor along the top of the
| | 02:02 | crack until I get outside the crack, like so.
| | 02:05 | Click again in order to set another point.
| | 02:08 | I'm running out of room at the top of
my screen, so I'll press and hold the
| | 02:11 | spacebar for a moment and drag down,
release the spacebar, and continue clicking
| | 02:16 | along, like so; double-click in
order to complete the selection.
| | 02:19 | Now we need to fill this area with
black here inside the layer mask.
| | 02:22 | So make sure the layer mask is active.
| | 02:24 | In my case, my foreground color is
black, so I'll press Alt+Backspace, or
| | 02:27 | Option+Delete, in order to fill the
selection with black. Then I'll press Control+D,
| | 02:31 | or Command+D on a Mac, in
order to deselect the image.
| | 02:34 | I'm going to press M to switch
back to my Rectangular Marquee tool.
| | 02:38 | The next step is to get rid of all
this greenish and purplish stuff, and merge
| | 02:43 | with the colors below, and you can do
that by changing the blend mode from Normal,
| | 02:47 | to Luminosity. And you end up
getting something that looks like a pretty
| | 02:51 | authentic crack, except for the fact
that it extends outside of the letters.
| | 02:55 | So we need to go ahead and
mask the crack inside the letters.
| | 02:59 | However, if you want to be able to
move the crack around from one letter to
| | 03:02 | another, then we need to make sure that
our letters mask is independent of this
| | 03:08 | crack layer. And so, once again,
we're going to create a knockout.
| | 03:11 | So go to the Channels panel, and Control+
click, or Command+click, on the all letters
| | 03:16 | channel in order to load it as a
selection outline. Then switch back to the
| | 03:20 | Layers panel, and press Control+Shift+N, or
Command+Shift+N on the Mac, to make a new
| | 03:25 | layer, and we'll go ahead and
call this knockout, and then click OK.
| | 03:28 | I'm going to press Control+0, or Command+0
on the Mac, and then zoom in just a little
| | 03:33 | bit to center that view.
| | 03:35 | We need to set up this layer so it's
knocking out the area outside the letters.
| | 03:40 | Right now, we have the area inside the
letters selected, so you need to go up to
| | 03:43 | the Select menu, and choose the Inverse command.
| | 03:46 | And that goes ahead and reverses that selection.
| | 03:49 | Now go ahead and press Alt+Backspace,
or Option+Delete on a Mac, to fill the
| | 03:53 | area outside the letters with black.
| | 03:56 | Press Control+D; Command+D on
a Mac, to deselect the image.
| | 03:59 | Let's go ahead and select both these
layers. Knockout is currently selected;
| | 04:02 | I'll Shift-click on the
crack layer to select it as well.
| | 04:05 | Go up to the Layers panel flyout menu
and choose New Group from layers, and let's
| | 04:10 | go ahead and call this
group KO group, and click OK.
| | 04:15 | Twirl the group open by clicking on the
triangle, and then I'll double-click on
| | 04:19 | an empty area of the knockout layer in
order to bring up the Layer Style dialog
| | 04:24 | box. And I'll change the Knockout to
Shallow, and then I'll reduce the Fill
| | 04:29 | Opacity to 0, then click OK. And as a
result, we've now gotten rid of those
| | 04:35 | portions of the crack that extended
outside of the letter R. And, because the
| | 04:40 | knockout layer is independent of the
crack layer, we can move that crack around.
| | 04:44 | So go ahead and select the crack layer,
press the Control key, or the Command key
| | 04:48 | on the Mac, and go ahead and drag this
crack to a new location, such as in the
| | 04:52 | middle of the C, and it moves around
all together, independently, which is an awesome thing.
| | 04:56 | It provides you so much flexibility.
| | 04:59 | Anyway, I'm going to press Control+Z, or
Command+Z on a Mac, in order to reinstate
| | 05:03 | that crack to its previous location.
| | 05:05 | Now, notice we've got a little bit of
crack over here on this part of the R, and
| | 05:10 | we have a little bit of crack over
here on this part of the C. So using the
| | 05:14 | Rectangular Marquee tool, I went
ahead and encircled both of those areas. I
| | 05:18 | dragged in one location;
Shift+Dragged in the other.
| | 05:20 | Go ahead and click on the KO group
right there, and then Alt+Click, or
| | 05:25 | Option+Click, on that Add layer mask icon in
order to mask those selected regions away.
| | 05:30 | Just a couple of more
modifications I want to make.
| | 05:33 | I'm going to click on the knockout
layer to make it active, and then I'm
| | 05:37 | going to grab the Smudge tool. And
the Smudge tool is not really all that
| | 05:41 | useful for smearing or retouching
photographic images, but it's great when
| | 05:46 | you're working with masks.
| | 05:47 | For example -- I'm going to
zoom in just a little more here --
| | 05:50 | see that light edge on the right side of
the R right there? I want to get rid of it.
| | 05:54 | So I'm going to increase the size of my
cursor just a little bit by pressing the
| | 05:58 | right bracket key, and I'm going to
drag, like so, just to smudge that maybe one
| | 06:02 | pixel outward, and that
ends up looking great to me.
| | 06:06 | Now I'm going to click on the layer mask
thumbnail for that crack layer, there in
| | 06:09 | the Layers panel. I want to smear these
edges out just a little bit so that I'm
| | 06:14 | revealing some of these white edges
around the crack, which suggests some stress
| | 06:19 | and strain on the letter.
| | 06:20 | After all, you wouldn't have just this nice,
clean crack here; you'd have some white
| | 06:24 | edges left over. And those white
edges are there; it's just that that the
| | 06:28 | Magnetic Lasso decided to creep in too far.
| | 06:31 | So I'm just smearing these
edges out ever so slightly.
| | 06:35 | If you start smearing back and forth,
then reduce the size of your cursor, and
| | 06:39 | that way you can just smear
outward as you modify these edges.
| | 06:42 | Do as much smearing, and smudging,
and so forth, as you want to. Then press
| | 06:46 | Control+0, Command+0 on the Mac, to take
in the entire image, and that's what I
| | 06:51 | call a good looking crack.
| | 06:53 | In the next exercise, we're going to take
care of another crack inside of our image.
| | 06:57 | This time we're going to add a
shadow behind the crack in the wall.
| | Collapse this transcript |
| Lighting a background to match your type| 00:00 | In this exercise, we are going to add a
shadow behind the crack in the wall, so that
| | 00:04 | the lighting of the photographic
background matches that of the 3D type.
| | 00:08 | I have saved my progress as Crack in the R
.psd, found inside the 04_grunge folder.
| | 00:14 | Now here's what I did; I went ahead
and Alt+clicked, or Option+clicked, in front of
| | 00:18 | that wall layer back there
at the bottom of the stack.
| | 00:20 | I went ahead and grab the Magnetic
Lasso tool, and I did that thing where
| | 00:25 | I'm just moving my mouse up the
crack, like so, and then occasionally
| | 00:30 | clicking at significant points.
| | 00:32 | And this works out pretty well,
because the Magnetic Lasso tool is an
| | 00:35 | edge detection tool.
| | 00:36 | It doesn't select based on luminance
levels in general the way that Magic Wand
| | 00:41 | tool does, and color range command, and
so forth. Rather, it looks for areas of rapid
| | 00:45 | luminance transition, such as between the
gray of the stucco wall, and the red of
| | 00:50 | the brick background.
| | 00:51 | This is a fairly tedious process, and I
am not going to make you watch me to do
| | 00:54 | it here. Just wanted to give
you a sense of what's going on.
| | 00:57 | Instead, I have gone ahead and
saved this selection in advance.
| | 01:00 | So I will press Control+D, or Command+D on
a Mac, in order to deselect the image.
| | 01:04 | And then I will press the M key to
switch back to my Rectangular Marquee tool,
| | 01:07 | and I will go to the Channels panel.
| | 01:10 | And notice that there is this is big
crack channel ready and waiting for you. Go
| | 01:13 | ahead and Control+click that channel on
the PC, or Command+click on it on a Mac, and
| | 01:18 | notice that this line
follows the contours of the edge.
| | 01:20 | All right, now switch back to Layers
panel, click on the wall layer to select
| | 01:25 | it, press Control+Shift+N, or Command+Shift
+N on the Mac, in order to bring up the
| | 01:29 | New Layer dialog box.
| | 01:30 | Call the layer stucco, or concrete, or
whatever that junk is, and then click OK in
| | 01:35 | order to create the new layer.
| | 01:36 | Now I am going to fill the selection with black
by pressing Alt+Backspace, or Option+Delete.
| | 01:41 | I will press Control+D, or Command+D on the
Mac, to deselect the image, and I am going
| | 01:46 | to turn off the wall layers
so you can see what we have.
| | 01:48 | This is pretty typical stuff when
you're working with a Magnetic Lasso tool.
| | 01:52 | Notice that it tends to carve out
these little scallops, which means we are
| | 01:57 | going to need modify the pixels just a
little bit, but first, let's add a drop shadow.
| | 02:02 | So I will press Control+0; Command+0 on
the Mac, in order to zoom out once again.
| | 02:06 | And I am going to turn the wall layer
back on, so that we can see it in the
| | 02:10 | background, and you know what? Might as
well turn on the mercy 3D layer as well,
| | 02:14 | so that we can match its shadows.
Scroll back down to stucco, and we want to
| | 02:19 | change the fill opacity to 0%.
| | 02:20 | So go ahead and Shift scrub on that Fill value.
| | 02:24 | Then drop down to the fX icon, and choose
Drop Shadow, and an angle of 120 degrees is going
| | 02:30 | to work out just fine. Let's go ahead
and take up the Distance to 15 pixels, and
| | 02:35 | I'll take the Size value
up to 15 pixels as well.
| | 02:37 | The amazing thing is, that looks
really great. As much as designers tend to
| | 02:43 | trash drop shadows, they can sometimes
produce just wonderful results, as in the
| | 02:48 | case of this image here.
| | 02:49 | I think the shadow is a tad bit
opaque, so I am going to click inside the
| | 02:53 | Opacity value, and press Shift+down
arrow to the take it down to 65%. Otherwise,
| | 02:58 | this drop shadow is just absolutely amazing.
| | 03:00 | I'll click OK. Let's imagine, for a
second, that those scalloped edges aren't
| | 03:05 | quite matching the edges in the stucco.
It looks pretty darn good, but I might
| | 03:10 | want to soften things in places, like
this edge right here is a little peculiar.
| | 03:14 | So here's what I recommend you do;
with the stucco layer active, go up to the
| | 03:18 | Filter menu, choose Noise, and
then choose the Median command.
| | 03:23 | The Median command essentially rounds
off mask items, and so by bringing the
| | 03:28 | radius value up to 3 pixels, as I have
here, we create a more organic transition,
| | 03:32 | I think, along the edges of the stucco.
| | 03:35 | Then go ahead and click OK to accept
that modification. And then I figured we'd
| | 03:39 | want to soften these edges just
slightly by going up to the Filter menu,
| | 03:43 | choosing Blur, and then choosing Gaussian Blur.
| | 03:46 | And I went ahead and applied a
Radius value of 0.5, and then clicked OK.
| | 03:52 | So that just adds a
little bit of softness there.
| | 03:54 | I am going to zoom back out so we can
take in the entire image, and turn on a few
| | 03:58 | of these layers. I will turn on that gray
wires layer, and that red slime layer.
| | 04:02 | Go ahead and scroll the list; you don't
need to turn on either the text layer,
| | 04:06 | or that shape layer, but you do need to
turn on the KO group -- I am going to go
| | 04:10 | ahead and twirl that closed -- as
well as that topmost interiors layer.
| | 04:13 | All right; now at this point I decided my
scene need a little bit of a contrast boost.
| | 04:18 | So I clicked on the interiors
layer, there at the top of the stack.
| | 04:22 | And I dropped down to the black/white icon
at the bottom of Layers panel. Press the
| | 04:26 | Alt key, or the Option key on a Mac, and
click that icon, and then choose the Levels
| | 04:30 | command, And I'm to go ahead and name
this new layer contrast, and click OK. And
| | 04:36 | then I am going to go ahead and take
this white point value down, and I ended up
| | 04:40 | arriving at a value of 210, and that
brightens the scene tremendously, as you can see,
| | 04:46 | without really clipping any colors. If
you Alt+Drag, or Option+Drag, on that white
| | 04:50 | triangle, you'll see that we are not
really getting rid of much. Everything that's
| | 04:53 | black is not getting clipped, anything
that's colorful is getting clipped in one
| | 04:57 | or more channels, but there are just a few
noise pixels here and there; it should
| | 05:00 | work out beautifully.
| | 05:02 | Then I clicked in the gamma value,
that center value there, and I press
| | 05:05 | Shift+down arrow in order to darken
the midtones, and now I will go ahead
| | 05:09 | and double-click to the right of word masks
in order to collapse the Adjustments panel.
| | 05:14 | That is very nearly the final version of
our image. All that's left to do is add
| | 05:19 | a little bit of post
processing inside Camera Raw.
| | Collapse this transcript |
| Post-processing type in Camera Raw| 00:00 | In this exercise, we're going to do
some post processing inside Camera Raw.
| | 00:04 | I've saved the final layer 3D
composition as Out back somewhere.psd, found inside
| | 00:10 | the 04_grunge folder.
| | 00:12 | Now, you may recall, to bring an
image into Camera Raw, we have to save a
| | 00:15 | flat copy of the file.
| | 00:17 | So go up to the File menu,
and choose the Save As command.
| | 00:21 | Then set the format to TIFF, so that we
retain as much detail as possible, turn
| | 00:26 | off the Alpha channels, and layers check boxes;
| | 00:29 | that's very important.
| | 00:30 | Photoshop will automatically
turn on the As a Copy check box.
| | 00:34 | Then I am going to go ahead and name
this file 3D grunge, and that way it'll
| | 00:38 | appear at the top of the stack for ACR,
that is Adobe Camera Raw, and then I'll
| | 00:43 | click on the Save button
in order to save that image.
| | 00:46 | Inside the TIFF Options dialog box,
I'll go ahead and turn on LZW, Pixel Order
| | 00:51 | should be Interleaved, as by
default; Byte Order doesn't matter.
| | 00:54 | You definitely want Discard layers, and Save a
Copy, turned on at the bottom of the dialog box.
| | 01:00 | Then go ahead and click OK
in order to save that file.
| | 01:04 | Now we need to switch over to the
Bridge, so go ahead and click on the Launch
| | 01:07 | Bridge button up here in the applications bar.
| | 01:11 | Now direct the Bridge to
that file you just created.
| | 01:13 | In my case, it's 3D grunge for ACR.
tif, here inside the 04_grunge folder.
| | 01:19 | Right-click on that file, and go ahead
and choose Open in Camera Raw, or you can
| | 01:23 | press Control+R on the PC, or Command+R
on the Mac, to bring up the program.
| | 01:27 | I am going to start things off here
inside the Basic panel by increasing the
| | 01:32 | Fill Light value to 20, and you can see how
that elevates the shadows inside the scene.
| | 01:37 | Next, I am going to click on the fX
icon to switch to the Effects panel.
| | 01:42 | I'll drop down to the Post Crop
Vignetting amount value, and I'll go ahead and
| | 01:46 | take that guy down to -65, and that
creates a generous amount of shadow around
| | 01:51 | the outside of the image.
| | 01:53 | The Style should be set to Highlight Priority.
| | 01:55 | The other values are fine set to their defaults.
| | 01:58 | Then I'll go ahead and click on that
double-cone icon, which takes me to the
| | 02:01 | Detail panel, and I'll raise the
Sharpening amount value to 50. A Radius value of
| | 02:07 | 1.0 is just fine, as are Detail, and
Masking values of 25, and 0, respectively.
| | 02:13 | Then I decided to go back to the
Basic panel; select that Recovery value.
| | 02:17 | Watch these light portions of
the wall up here above the letters.
| | 02:21 | I am going to go ahead and take
that Recovery value up to 50, and it just
| | 02:25 | slightly diminishes that brightness.
| | 02:27 | If you want to get a sense for all
the changes you've made across the three
| | 02:30 | panels, go ahead and switch to the
last panel: Snapshots. And then press the P
| | 02:35 | key to see the before version of the image, and
press P again in order to see the after version.
| | 02:41 | Now, let's open the image inside
Photoshop by pressing the Shift key, and
| | 02:46 | clicking the Open Object button
down here at the bottom of the window.
| | 02:50 | That way, we open the image as a Smart
Object, and you can go back to Camera Raw
| | 02:54 | and make whatever changes you like by
just double-clicking on that thumbnail
| | 02:58 | here inside the Layers panel.
| | 03:00 | Now, notice that the vignetting went
ahead and cast a shadow, not only on the
| | 03:04 | photographic background,
but on the letters as well.
| | 03:07 | I don't want to lose that brightness
over here on the right side of the Y, or
| | 03:11 | along the left side of the M, so I am
going to reinstate those letters from the
| | 03:14 | other file that I have open.
| | 03:16 | So I'll go ahead and switch back
to that Out back somewhere.psd file.
| | 03:20 | Now, to avoid re-rendering the 3D
layer, our best option is to go ahead
| | 03:24 | and flatten the type.
| | 03:26 | So make sure the mercy 3D layer is
selected here inside the Layers panel, and
| | 03:30 | then Shift-click on the contrast layer
at the top of the stack, and that goes
| | 03:34 | ahead and incorporates
everything that appears inside the type.
| | 03:38 | You may want to take a moment and make
sure that you've saved all of your changes.
| | 03:42 | Go to the File menu, and choose
the Save command just to be safe.
| | 03:48 | Go to the Layer menu and choose Merge
Layers, or press Control+E; Command+E on the Mac.
| | 03:53 | Notice that the background becomes
darker, and that's because we flattened that
| | 03:57 | Contrast Adjustment layer into the
letters. That's perfectly fine; that's
| | 04:01 | actually what we need.
| | 04:02 | Let's go ahead and rename
this new layer flat type.
| | 04:05 | Now we will bring it into the other
file by right-clicking on an empty portion
| | 04:09 | of that layer, choosing the
Duplicate Layer command, and then setting the
| | 04:13 | Document option to 3D grunge for ACR
blah, blah, blah. Then click OK, and that
| | 04:20 | goes ahead and transfers
that layer to the other file.
| | 04:22 | Before you go any farther, go back to
the File menu, and choose the Revert
| | 04:26 | command, or press F12.
| | 04:29 | That way, there's no chance you can
accidentally save over the 3D version of the file.
| | 04:33 | Now, I am going to switch over to the
Camera Raw image, and notice that we're
| | 04:37 | losing a little bit of definition inside
those letters. And that's because we've
| | 04:41 | just covered up the Camera Raw letters
in the background, which are sharp, and
| | 04:45 | stressed, and a little bit tactile, with
the letters from the layer composition.
| | 04:49 | We've also enhanced the shadow detail.
| | 04:51 | Here is what we need to do
to make everything right.
| | 04:54 | Go ahead and change the blend mode from
Normal, to Screen, and that way we won't
| | 04:59 | end up doubling up the shadows,
because the shadows would drop out.
| | 05:02 | Problem is, of course, we end up
brightening the letters like crazy.
| | 05:07 | So drop down to the bottom of the Layers
panel, and click the Add layer mask icon,
| | 05:12 | and then go ahead and select
the Brush tool from the toolbox.
| | 05:15 | You want to make sure that the
foreground color is set to black, and I am going
| | 05:18 | to press the right-bracket key several
times here until I get this ginormous
| | 05:22 | brush. And I ended up arriving at a
brush size of 1200 pixels; the Hardness
| | 05:27 | value should be cranked down to 0%.
| | 05:28 | And then make sure that the opacity
value is 100% up here in the options bar,
| | 05:35 | and the blend mode is set to Normal,
and then all you have to do is click once
| | 05:39 | right there in the center of the letters.
| | 05:42 | You may want to click and drag around
just a little bit more, but you don't want
| | 05:45 | to go too far side-to-side;
| | 05:47 | just kind of a small wiggle
back and forth.
| | 05:50 | Then go ahead and switch back to the
Rectangular Marquee tool, and let's see
| | 05:54 | what we've done here.
| | 05:55 | I'll go ahead and turn the layer off.
| | 05:57 | This is the before version, with the
right side of the Y and the left side of
| | 06:01 | the M in shadow. And this is the after
version, with the letters drawn out of the shadows.
| | 06:07 | And that, friends, is at least one
way to create ultra grungy 3D type here
| | 06:13 | inside Photoshop Extended.
| | Collapse this transcript |
|
|
5. Fluffy Pillow InflationsMaking a 3D pillow inflation| 00:00 | In this chapter, I am going to show
you how to create pillow inflations, which
| | 00:04 | are great for creating soft,
fluffy, rounded 3D type effects.
| | 00:08 | We'll ultimately end up with this
effect here, but we are going to start off
| | 00:11 | inside a file called Squishy.psd, which
is found inside the 05_pillow folder.
| | 00:16 | Now, it features that same font, Poplar,
that we used in the previous chapter. So
| | 00:21 | one minute you can use a typeface for a
grunge effect, then you can turn around
| | 00:25 | and use that exact same
typeface for a pillow inflation.
| | 00:28 | So if you don't have Poplar loaded on
your system, you may end up getting a font
| | 00:32 | warning. Don't worry about it;
| | 00:33 | I've also got a shape layer
ready and waiting for you.
| | 00:36 | Let's go ahead and work from that shape
layer. It's called s&s, here at the top
| | 00:40 | of the stack inside the Layers panel.
| | 00:42 | To keep it safe, I'll go ahead and
press Control+J, or Command+J on the Mac, to
| | 00:45 | create a copy of that layer,
then I'll turn off the original.
| | 00:49 | Then go up to the 3D menu, choose
Repousse, and choose Layer Mask.
| | 00:53 | If you get the alert message,
just click the Yes button.
| | 00:55 | A moment or two later, Photoshop will
bring up the Repousse dialog box.
| | 00:59 | All right, let's go ahead and
make a few initial adjustments.
| | 01:02 | I am going to move the dialog box over,
so we can better see what we are doing.
| | 01:05 | I'll go up here to the Materials options,
click on All, and then choose No Texture.
| | 01:10 | We also need to make sure that we're
seeing holes in the right locations.
| | 01:14 | So go ahead and change the Type
option down here toward the bottom of the
| | 01:16 | dialog box to Hole.
| | 01:18 | That's not going to take care of all of them.
| | 01:20 | In fact, I am not even sure
which one it did take care of.
| | 01:22 | It looks like the hole
inside the Q is now a Hole,
| | 01:25 | but we've got three
others that we need to address.
| | 01:28 | So go ahead and select the Rotate tool
there under the word Internal, and click
| | 01:31 | on the hole inside of the O.
Change Type from Inactive, to Hole.
| | 01:35 | Go ahead and click on the top hole
inside the ampersand, change its Type to Hole,
| | 01:40 | and then finally, click on the bottom hole
inside the ampersand and then go ahead
| | 01:44 | and change its type to hole as well,
and that should take care of everybody.
| | 01:47 | Now, we don't want any Depth setting whatsoever,
| | 01:50 | so go ahead and set the Depth to zero,
and now we've got just plain old flat type.
| | 01:55 | We also have this Inflate option.
| | 01:57 | Go ahead and change the Sides to Front
and Back, so that we are fluffing both
| | 02:01 | sides of the type, and go ahead
and take the Angle value up to 75.
| | 02:06 | Now, note that the Strength value
remains dimmed; it should activate, but that's
| | 02:10 | because Photoshop requires us to
sort of drag the slider around before
| | 02:13 | Strength becomes active.
| | 02:15 | Anyway, let's stick with that angle of 75 there.
| | 02:18 | And notice, you can go ahead and take
that Strength value up as high as 1, and
| | 02:23 | that's going to give you a lot of
fluff associated with your type, as you
| | 02:26 | can see right there.
| | 02:27 | However, if I go ahead and drag the
type around, and in my case, I am actually
| | 02:31 | dragging the Internal Constraints,
because I have this tool selected here.
| | 02:35 | That's not what I want,
| | 02:36 | so I'll go ahead and click on that
little home button there in order to
| | 02:39 | restore those Constraints.
| | 02:40 | And let's switch to the Rotate the
Mesh tool, which is located up here in the
| | 02:44 | upper left corner of the dialog box.
| | 02:46 | And now, drag the type around, like
so, and you can see that we've got some
| | 02:50 | pretty radical problems.
| | 02:51 | We've got this big lump in the
middle of the H, for example.
| | 02:54 | We've got some lumps at the bottom of
the U, at the bottom of the Q, over here
| | 02:58 | at the top of the O; all
kinds of weirdness is going on.
| | 03:01 | Now, you are going to get better results if
you set that Mesh Quality from Draft, to Best.
| | 03:06 | Now, it might take a few moments for
Photoshop to update the screen display,
| | 03:09 | so you will have to wait for it.
| | 03:11 | It may take several seconds in fact,
but you can see that things just got
| | 03:14 | smoother; just slightly smoother onscreen.
| | 03:17 | So we do want a Mesh Quality of Best,
but we don't want this Strength value;
| | 03:21 | there's a better way to work.
| | 03:22 | So I am just going to go ahead and
reduce that Strength value to 0, once again,
| | 03:26 | and press the Tab key. Then you are going
to have to wait for Repousse to update
| | 03:29 | the screen display again.
| | 03:31 | Now, you may look at that and say, well
those are some awfully flat letters Deke.
| | 03:35 | Again, as I say, we'll take
care of that in a moment.
| | 03:37 | For now, go ahead and click on that
little home button below the various mesh
| | 03:41 | tools, and that will restore the
angle of the mesh to straight on.
| | 03:45 | And then go ahead and click the OK
button in order to create that 3D object.
| | 03:49 | All right; so that's step one. We now have a
classic pillow inflation inside of Photoshop.
| | 03:54 | We've got to fluff it up, however,
and I'll show you how that works in the
| | 03:57 | next exercise.
| | Collapse this transcript |
| "Fluffing up" the letters| 00:00 | In this exercise, we are going to
orient our camera, position the object, and
| | 00:04 | fluff up the letters as well.
| | 00:06 | Make sure the 3D object is
selected here inside Layers panel.
| | 00:09 | Then select the Camera Rotate tool,
down near the bottom of the toolbox.
| | 00:13 | And we are going to want to cast a
shadow, once again, onto the ground plane.
| | 00:17 | So if you're not seeing the ground plane,
go up to the View menu, choose Show,
| | 00:21 | and choose 3D Ground Plane. As by
default, it's set perpendicular to the viewer.
| | 00:25 | So we need to rotate our view by
dragging on this blue rotate gadget here inside
| | 00:29 | the 3D widget, and I am going to drag
down, like so. And then I'll go ahead and
| | 00:34 | make sure I have got things set up
exactly right by changing the X Orientation
| | 00:38 | value to 180. The Y value should be 360,
and the value Z value should be -180, and
| | 00:44 | you should be looking straight
down at the top of the letters.
| | 00:47 | All right, next go ahead and switch to
the Pan tool up here in the Options bar,
| | 00:52 | so that you can see the Position
values. We need to be able to center that
| | 00:55 | ground plane, and I ultimately arrived to
the Y value 350, the X value should be 700,
| | 01:01 | we will take care of is
the Z value in just a moment,
| | 01:04 | but first let's go ahead and orient that object.
| | 01:06 | So switch to the Object Rotate tool,
the next tool up inside the toolbox, and
| | 01:10 | make sure that you're seeing the
Orientation values up here in the Options bar.
| | 01:14 | Then change the X value to 90, and then
press Enter, or Return on the Mac. The Y
| | 01:19 | and Z values should both be zero.
| | 01:21 | Now before we go any farther, I want to
give you a sense of how we are going to
| | 01:24 | fluff up the letters.
| | 01:25 | So I am going to drag inside the
image window, so that we are looking up at
| | 01:29 | the letters, like so, so that we can see how
thick they are, which is not very thick, currently.
| | 01:34 | And now I am going to drag down on
this green arrow head to move the
| | 01:38 | letters down, like so.
| | 01:39 | Now, you may recall that green inside
the 3D widget indicates the X axis. That
| | 01:43 | little green cube allows you to scale
the depth of the letters, independently of
| | 01:48 | their height, and width.
| | 01:50 | So if you drag down on the green cube,
like so, you will see that you fluff up the
| | 01:54 | letters, and we get way smoother
results than we did when we increased that
| | 01:58 | Strength value inside the Repousse dialog box.
| | 02:01 | So even though we have some obvious
polygons here and there, and the letters
| | 02:05 | look more like air mattresses than
anything, but we don't have any of those
| | 02:09 | strange lumps along the bar of the H, or the
bottom of the U, or the Q, or the top of O, and so forth.
| | 02:14 | So this is the way to go, and if you
switch to the Scale tool up here in the
| | 02:18 | Options bar, you'll notice that we've
increased the Y value, independently of X and Z.
| | 02:23 | All right; let's reset things now by
pressing Control+Alt+Z, or Command+Options+Z on
| | 02:28 | a Mac, as many times as it takes to
get those letters straight on once again.
| | 02:33 | And here is what I want you to do, and I
am going to warn you in advance: we are
| | 02:36 | going to have the switch back and forth
between tools, but we are going to start
| | 02:39 | off with the Scale the 3D Object tool selected.
| | 02:43 | Then I want you to go over to the Y
value here, and I want you to change it 4, so
| | 02:47 | that we have some ultra fluffed up letters.
| | 02:50 | Now, the letters also come way toward us,
as you can see, because they are so much
| | 02:54 | thicker than they were before.
| | 02:56 | Let's go ahead and nail those letters to
the ground plane by going up to 3D menu,
| | 03:00 | and choosing the Snap
Object to Ground Plane command.
| | 03:03 | That'll go ahead and move
those letters way back there.
| | 03:06 | Now we need scoot our camera forward,
so I am going to go ahead and select the
| | 03:09 | Camera Pan tool, and that will give me
access to the Position Options. Bear in
| | 03:14 | mind, we're changing the
position of the camera, not the object.
| | 03:17 | Let's go ahead and change the Z value
now to 700, and then press the Enter key, or
| | 03:22 | the Return key on the Mac, in
order to zoom in on the scene.
| | 03:25 | Now, the letters are a little bit wide,
so we are going to switch back to that
| | 03:29 | Object Scale tool there inside the toolbox.
| | 03:32 | That will give us access to the
Scale values. I want you to change the X
| | 03:35 | value to 0.88, and then press the
Enter key, or the Return key on the Mac, in
| | 03:40 | order to accept that value.
| | 03:42 | That takes care of all the 3D
maneuvers, so you can go ahead and switch back to
| | 03:46 | the Rectangular Marquee tool,
which you get by pressing the M key.
| | 03:50 | In the next exercise, I will show
you a new and different way to mask
| | 03:53 | the letters.
| | Collapse this transcript |
| Masking and lighting the 3D type| 00:00 | In this exercise, we're going to create a
mask for our fluffy letters, and we're doing
| | 00:05 | this for a couple of reasons.
| | 00:06 | First of all, it's always a good idea to
create a letter mask, because you never
| | 00:09 | know when you'll need it. And secondly,
we are going to need the letter mask in a
| | 00:13 | subsequent exercise, because we're going
to run into a problem with the shadows,
| | 00:18 | so just stay tuned for that.
| | 00:19 | So here is how we're going to work.
| | 00:21 | Go ahead and double-click on the
thumbnail for the 3D object to bring up the
| | 00:24 | 3D panel, and let's go ahead and fix
the lighting. Right now our happy, pillowy
| | 00:29 | letters are underlit, which gives them
sort of a threatening appearance, which is
| | 00:33 | why I've created some modified lights for you.
| | 00:35 | Go up to the 3D panel flyout menu, and
choose Replace Lights Presets, and then
| | 00:40 | navigate your way to the 05_pillow
folder. Go ahead and click on that Fluffy
| | 00:43 | lights.p3l file, and click the Load
button in order to load up those lights.
| | 00:48 | Now let's go ahead and ray trace the
scene so we get smooth letterforms, and I am
| | 00:52 | going to suggest that you go ahead and
set the Quality to Ray Traced Final this
| | 00:56 | time around, so we get absolutely
the best looking letters we can.
| | 01:00 | Now, notice how much smoother those
letters look already, by virtue of the
| | 01:05 | fact that we've relit them, and by virtue of
the fact that Photoshop is ray tracing them.
| | 01:10 | We also get these interesting little
sort of sparkles that are a function of the
| | 01:14 | fact that Photoshop hasn't quite
resolved away all of the noise, but they do
| | 01:18 | create a kind of fabric
effect around the letters.
| | 01:21 | Now, notice that we're just rendering
the letters; we're not rendering out the
| | 01:25 | shadows at all, and the reason that
we're not getting any shadows is I haven't
| | 01:29 | bothered to turn on the ground plane
shadow catchers, so there is nothing to
| | 01:32 | catch those shadows inside the
scene, except the other letters.
| | 01:35 | All right, after a point you can go
ahead and click in order to interrupt the
| | 01:39 | ray tracing process.
| | 01:40 | You don't need to perform a
full ray tracing, in other words.
| | 01:43 | Now let's go ahead and
grab a mask of these letters.
| | 01:45 | I am going to go ahead and close the
3D panel, and then press the Control key, or
| | 01:49 | the Command key on the Mac, and click
on the thumbnail for the s&s layer. And
| | 01:54 | let's actually go ahead and
rename this layer s&s 3D, like so.
| | 01:59 | And it's very important, by the way,
that you Control+click, or Command+click, on the
| | 02:02 | thumbnail in order to load up that selection.
| | 02:04 | Now switch to the Channels panel, drop
down to the Save selection as channel
| | 02:08 | icon, down here at the bottom of the
channel, and Alt+click, or Option+click, on it
| | 02:13 | to bring up the New Channel dialog box.
| | 02:15 | Let's go ahead and call this channel,
letters, and click OK, and we have now
| | 02:18 | saved off our selection as a mask
inside this letters Alpha channel.
| | 02:23 | I'll go ahead and press Control+D, or
Command+D on a Mac, so you can see what
| | 02:26 | that channel looks like.
| | 02:27 | It's a little wiggly looking, as you
can see, and that's just a function of how
| | 02:31 | Repousse generates its inflations.
| | 02:33 | So frankly, it's imperfect, but
it's a kind of happy accident.
| | 02:36 | It's going to work out well for us.
| | 02:38 | Go ahead and switch back to your RGB image,
and then switch back to the Layers panel.
| | 02:42 | Now let's go ahead and cast that shadow
on to the ground plane by going up to
| | 02:46 | the 3D menu and turning on
Ground Plane Shadow Catcher.
| | 02:50 | In my case, Photoshop warns me that I
have to have Ray Tracing turned on.
| | 02:54 | Well, of course, ray tracing is already
turned on, so as soon as I click the OK
| | 02:57 | button, Photoshop begins
to render out that scene.
| | 03:00 | All right, we're going to speed this
process up, so that we get a fair amount of
| | 03:03 | ray tracing done, but it's not
necessary that you fully ray trace the scene,
| | 03:07 | because we've got a little bit of a problem.
| | 03:09 | I am going to click in order to
interrupt my ray tracing process, and I want you
| | 03:13 | to notice something.
| | 03:15 | If I turn off my 3D layer for a
moment, you can see that I've got this
| | 03:18 | photographic blanket in the background.
| | 03:21 | I have the blanket layers set to the
Luminosity blend mode, and as a result, it's
| | 03:24 | interacting with the colors on this
bluish layer, and we're getting these
| | 03:28 | wonderfully colored shadows as a result.
| | 03:30 | Whereas, if I turn that 3D object
back on, it's casting these drab, grayish,
| | 03:36 | completely desaturated shadows. And
you can see that if I go ahead and turn
| | 03:40 | off the blanket, and bluish layers, so
that we're casting the shadows onto the
| | 03:44 | white of the background.
| | 03:45 | Whereas, in this final version of the
scene, if I go ahead and scroll down the
| | 03:49 | list and turn off blanket, and
bluish, I've got colorful shadows.
| | 03:52 | How in the world do you pull that off?
| | 03:54 | Well it turns out, it's a manual 2D
technique, and I'll show you how it works
| | 03:58 | in the next exercise.
| | Collapse this transcript |
| Casting colorful ground-plane shadows| 00:00 | In this exercise, I'll show you how to
cast a colorful shadow onto the ground
| | 00:04 | plane, and this turns out to be
a 2D technique inside Photoshop.
| | 00:08 | Now ideally, a shadow is informed by a
couple of things: the color of the object
| | 00:12 | onto which the shadow is cast,
and the global ambient light.
| | 00:16 | So what you would assume you could do
is go up to the 3D layer, double-click on
| | 00:21 | its thumbnail in order to bring up the 3D panel,
| | 00:24 | make sure that Scene is selected up at
the top of the list, and then you would
| | 00:27 | click on this Global Ambient Color
swatch to bring out the color picker dialog
| | 00:31 | box, and you would dial in that ambient
color, and that ought to be the darkest
| | 00:35 | the shadow will get inside of a scene.
| | 00:38 | So, for example, I'll dial in a hue
value of 210, then I'll change the
| | 00:42 | saturation value to 50, and the
brightness value to 50% as well.
| | 00:46 | And you can see that's already affecting
the color of the shadows inside the letters.
| | 00:50 | As soon as I click OK, Photoshop will
go ahead and re-render the scene, and
| | 00:54 | much to my horror, this isn't doing anything for
the shadows that are being cast by the letters.
| | 00:59 | So how in the world is it that the
shadows inside the letters end up turning
| | 01:02 | blue, but the shadows cast by
the letters end up staying gray?
| | 01:06 | Well, let me explain things here.
| | 01:08 | I'm going to go ahead and click in
order to interrupt that render process.
| | 01:11 | This one is not a bug, it's
not an oversight; it's by design.
| | 01:16 | And here is the thing: the ground
plane shadow catcher is designed to create
| | 01:20 | shadows that can interact
with 2D background images.
| | 01:23 | So those shadows, by definition, have
to be black. That's the only way that
| | 01:28 | Photoshop can ensure that the shadows
will absolutely darken any image in the
| | 01:32 | background. Because, after all, when
you're working with a drop shadow, you can
| | 01:36 | set it to a different blend mode, such
as Multiply, and that will create darkness
| | 01:40 | even if you dial in a color value.
| | 01:42 | However, when you're working with a
3D scene, everything resides inside of a
| | 01:46 | single layer, subject to a single blend
mode, and chances are very good you want
| | 01:51 | that blend mode to be Normal.
| | 01:52 | So as a result, the shadows have to be
black. Which is all a long-winded way of
| | 01:57 | saying we have to come up with a
different solution, and here is how it goes.
| | 02:01 | Switch to the Channels panel, and then
load up that mask that we created in the
| | 02:04 | previous movie by Control+clicking, or
Command+clicking, on the letters channel at
| | 02:09 | the bottom of the list.
| | 02:10 | Then let's go ahead and
switch back to the Layers panel.
| | 02:13 | We actually want to affect the shadows
outside the letters, so you need to go up
| | 02:17 | to the Select menu, and
choose the Inverse command.
| | 02:20 | That deselects the letters, and
selects everything outside the letters.
| | 02:24 | Now let's go ahead and hide the 3D
panel for a moment here. I want you to drop
| | 02:27 | down to this black/white icon at
the bottom of the Layers panel.
| | 02:30 | Then press the Alt key, or the Option
key on the Mac, click on that icon, and
| | 02:34 | choose the Hue/Saturation command.
| | 02:37 | Because the Alt or Option key was down,
you'll get the New Layer dialog box.
| | 02:41 | I'm going to go ahead and call this guy
shadow shifter, and turn on Use Previous
| | 02:44 | Layer to Create Clipping Mask.
| | 02:46 | That way we'll just colorize the
shadows without affecting the other layers
| | 02:50 | in the composition.
| | 02:51 | Now click OK, and you should see that
your layer mask shows black letters against
| | 02:55 | a white background.
| | 02:56 | So in other words, we're going to
affect the area outside the letters.
| | 03:00 | Turn on the Colorize check box; nothing happens.
| | 03:04 | Now dial in the value we're looking
for, which is 210 for the Hue value.
| | 03:08 | I'm going to take that Saturation
value all the way to 100%, so we should get
| | 03:13 | some screamingly blue shadows.
| | 03:15 | Here is the problem: the reason we're
not seeing any change in the shadows
| | 03:19 | whatsoever is because even though
they look to us as if they're gray,
| | 03:22 | they're actually black.
| | 03:23 | So they're actually black with
translucency built into them.
| | 03:27 | That means we need to slightly lighten
the shadows, and I'm going to do that by
| | 03:30 | taking the Lightness value up to +15.
| | 03:33 | And you'll see now, sure enough, we
end up getting some colorful shadows.
| | 03:36 | All right; I'm going to hide the
Adjustments panel by double-clicking to the
| | 03:40 | right of word masks, and now I'm going
to bring back the blanket, and bluish
| | 03:44 | layers, so we can see how the shadows interact.
| | 03:46 | Things look pretty darn good.
| | 03:48 | Now, ideally I would somehow set these
shadows to the Multiply blend mode, but
| | 03:52 | we've got a pretty darn dark
shadow here, so this works well enough.
| | 03:55 | Now I'm going to go ahead and zoom in.
| | 03:57 | I want you to see that our letter mask
isn't entirely accurate; it sculpts into
| | 04:02 | the letters a little bit too much there.
So make sure that your layer mask is
| | 04:06 | selected here inside the Layers panel,
and then I want you to go up to the
| | 04:10 | Filter menu, choose Other, and choose Minimum.
| | 04:13 | The Minimum filter expands the
minimum luminance level, which is black.
| | 04:17 | So in other words, it's going to
grow those black letters outward.
| | 04:21 | So I'll go ahead and choose the command,
and I want you to set the Radius value
| | 04:23 | to 1. We can't set it any lower than
that, and that we'll go ahead and give us the
| | 04:27 | wiggle room we need. It will shove
that blue outward ever so slightly.
| | 04:31 | So go ahead and click OK to accept that result.
| | 04:34 | So, excellent; we have
ourselves a colorful shadow.
| | 04:37 | I'm going to go ahead and zoom out by
pressing Control+0; Command+0 on the Mac.
| | 04:41 | In the next exercise, we're going to
assign some materials, including a bump map.
| | Collapse this transcript |
| Assigning materials and bump maps| 00:00 | In this exercise, we'll design a
material for the face of our letters, and we'll
| | 00:04 | also assign a bump map.
| | 00:05 | Now, to adjust the materials, you need
to switch back to the 3D layer, go ahead
| | 00:09 | and double-click on its thumbnail to
bring up the 3D panel, and with Scene
| | 00:13 | selected, let's set the Quality back to
Interactive (Painting), so that we can
| | 00:16 | get some work done.
| | 00:17 | And you'll see that the quality of the letters
suffers a lot for switching back to this mode.
| | 00:22 | Then click on s&s Front Inflation
Material at the top of the stack. Bear in mind,
| | 00:26 | what we've got where these letters are
concerned is a Front Inflation Material,
| | 00:31 | no Bevels, no Extrusion, and then we
also have a Back Inflation Material.
| | 00:35 | We can barely see the back material,
but ultimately we will need to address it.
| | 00:40 | But we'll start with Front, so go
ahead and select it, then drop down to the
| | 00:44 | Gloss value and set it to 0, because I
don't want any gloss popping off these
| | 00:48 | pillows. And then go ahead and click
on the Ambient swatch, and let's take the
| | 00:52 | brightness value down to 50%,
and click the OK button.
| | 00:56 | I want to very slightly adjust the
color of the Diffuse Texture, so click on
| | 01:00 | that Diffuse swatch, and then take the
brightness value up to 85%, so just a
| | 01:04 | little bit brighter, and then click OK.
| | 01:06 | Now, we're going to do most of this work
where the material is concerned using a
| | 01:10 | bump map, because the idea is these
letters are ultimately white, but they have
| | 01:14 | a little variation in terms of their
actual texture; being, the way that the light
| | 01:18 | hits the letters. And so I've
created a bump map for you in advance.
| | 01:21 | It's this file right there; it's called
Linen pattern.psd, and it's a two layer file.
| | 01:26 | If you turn off the pattern layer, you'll
see that we have this Linen texture, so
| | 01:30 | just a little bit of variation in
luminance levels going on. And then I also
| | 01:35 | have this pattern layer on top, and
I'll go ahead and set the blend mode to
| | 01:38 | Normal by pressing Shift+Alt+N; Shift+
Option+N on the Mac. And then I'll press
| | 01:43 | the 0 key to increase the opacity to 100%,
so that you can get a sense of what
| | 01:48 | this pattern looks like.
| | 01:49 | It's ultimately a tablecloth, but I
wanted these two patterns to interact with
| | 01:52 | each other, which is why I changed the
blend mode to Multiply, and I also reduced
| | 01:56 | the Opacity value to 50% by first
pressing the Escape key here on the PC to
| | 02:01 | deactivate that blend mode, and then I
pressed the 5 key to reduce the opacity.
| | 02:06 | So let's go ahead and load
this image as a bump map.
| | 02:08 | I'll switch back to the file in
progress, and I'll drop down to the Bump option,
| | 02:13 | click on its folder icon,
and choose Load Texture.
| | 02:15 | Navigate my way to the 05_pillow
folder, click on Linen pattern.psd, and go
| | 02:20 | ahead and open it on up. And you can
see that we now have that Linen pattern
| | 02:24 | assigned to the letters.
| | 02:25 | Let's go and render out the Scene by
clicking on Scene here at the top of the
| | 02:28 | list, and then changing the Quality, once
again, to Ray Traced Final, which is going
| | 02:33 | to give us brighter, peppier lighting.
| | 02:35 | And I am looking at this thinking, you
know, actually this pattern is too big. I
| | 02:41 | am going to go ahead and click
to interrupt the render process.
| | 02:43 | Notice that we have these big old
patterns going on, and it gives the letters
| | 02:47 | more of a paper towel feel than it does
the kind of cloth feel I am looking for.
| | 02:52 | So what I want to do is increase the
resolution of the pattern, and you may
| | 02:56 | recall from my 3D objects in Scenes
courses that you do that by clicking on the
| | 03:01 | Materials, so we'll click on
Front Inflation Material once again.
| | 03:04 | And then you go ahead and drop down to
that little page icon next to the word bump.
| | 03:08 | We do want a bump value of 1, by the
way, so leave the default setting as is.
| | 03:12 | Click on the page icon, and then you
choose Edit Properties, and let's say I want
| | 03:16 | to increase the resolution by a factor
of two, then I'd go ahead and enter a U
| | 03:20 | Scale, and V Scale value of 2, like so,
and then I would click OK in order to
| | 03:26 | restart the rendering process.
| | 03:28 | Now Photoshop goes ahead and leaves the
dialog box up onscreen as it ray traces
| | 03:33 | in the background. I am going to click
in order to interrupt the ray tracing
| | 03:36 | process, so we get rid of that dialog box.
| | 03:39 | And it's a good thing I did, because
the ray tracing isn't going the way
| | 03:42 | I thought it would.
| | 03:43 | We've got a big seam running down the
F and the I here, and then we have a
| | 03:48 | less obvious horizontal seam along the
bottom of the big S, and the O, and the
| | 03:52 | F, and the T, and so forth.
| | 03:54 | That's not what I want at all. In fact,
if I switch back to the final version of
| | 03:58 | the image, you can see that
there are no seams whatsoever.
| | 04:02 | So I've got to take a different
approach to modifying this linen pattern, and
| | 04:05 | I'll show you what that
approach is in the next exercise.
| | Collapse this transcript |
| Removing seams from a bump map| 00:00 | In this exercise, we will modify the
bump map image to eliminate the seams, and
| | 00:05 | we will also go ahead and save out the
resulting material, and assign it to the
| | 00:08 | backs of the letters.
| | 00:10 | If you are working along with me, go
ahead and double-click on the 3D object
| | 00:13 | thumbnail to bring up the 3D panel.
| | 00:15 | Make sure that the Front Inflation
Material is selected here inside the list,
| | 00:19 | and then drop down to the little page
icon next to the word Bump, and choose the
| | 00:22 | Open Texture command. Or, if you prefer,
you can just go ahead and double-click
| | 00:26 | on Linen pattern below Bump
here inside the Layers panel.
| | 00:30 | Either one is going to bring up that
file that's embedded inside the image.
| | 00:34 | So even though it's called Linen
pattern1, in my case, .psb, it is not the same
| | 00:39 | file as Linen pattern.psd that's
included inside your exercise files folder.
| | 00:44 | Now I am going to hide the 3D panel and
zoom out a little bit here, and what I
| | 00:48 | want to do is double the size of this image.
| | 00:51 | But before I do, I am going to convert
the background image into a floating layer.
| | 00:55 | So I will go ahead and double-click on
the background item to bring up the New
| | 00:58 | Layer dialog box, and I will go ahead
and call this layer linen, because this
| | 01:01 | layer represents the actual linen texture.
| | 01:04 | Now, with both images relegated to
independent layers, I will go up to the Image
| | 01:08 | menu, and choose the Canvas Size
command, or you can press Control+Alt+C, or
| | 01:12 | Command+Option+C on the Mac.
| | 01:14 | Go ahead and click the bottom left
chiclet, in this case, so that we expand the
| | 01:17 | image to the right and upward.
| | 01:19 | And I'm going to click on Pixels, and
switch it to Percent, like so, and then
| | 01:23 | change both the Width and the
Height value to 200, and click OK.
| | 01:29 | And we have just expanded the size of
the canvas, so it's twice as wide, and
| | 01:32 | twice as tall, as it was before.
| | 01:35 | With the linen layer selected, I want
you to press the keyboard combination
| | 01:38 | Control+Alt+T, or Command+Option+T on the Mac.
| | 01:43 | The idea is we are going to transform a
copy of this layer, and you have to do
| | 01:46 | that one from the keyboard.
| | 01:48 | Now go ahead and grab that bottom
handle on the transformation bounding box, and
| | 01:52 | drag it all the way to the top of
the image until it snaps into place.
| | 01:56 | And, by the way, you'll know you've got
it right if the Width value still reads
| | 01:59 | 100%, but the Height value now reads -100%.
| | 02:03 | When you have done that, press the Enter
key, or Return key, in order to both copy
| | 02:07 | and flip that object.
| | 02:09 | And notice, now, that I have two linen
layers, and they converge on what were formerly their
| | 02:13 | top sides, so there will be no seam.
| | 02:16 | Now, I want you to take this flipped
copy of the layer, and merge it with the
| | 02:20 | original by going up to the Layer
menu and choosing Merge Down, or you can
| | 02:24 | press Control+E, or Command+E on the Mac.
| | 02:26 | We are going to be taking advantage of
that shortcut in the future, because we
| | 02:30 | are going to have to repeat
this step a few more times.
| | 02:33 | Now, with this merge layer selected,
go ahead and press Control+Alt+T, or
| | 02:37 | Command+Option+T, again, and this time I
want you to drag the left handle all the
| | 02:42 | way until it snaps to the
right side of the canvas.
| | 02:46 | This time up in the options bar you
will see a Width value of -100%, and a
| | 02:50 | Height value of 100%, showing you
that you have just flipped a copy of the
| | 02:55 | layer horizontally.
| | 02:56 | Go ahead and press the Enter key, or the
Return key on the Mac, in order to accept
| | 03:00 | that change. Because we have what
were formerly the left side of the linen
| | 03:05 | pattern right next to each other,
again, we are avoiding any seam.
| | 03:09 | Now go ahead and press Control+E, or
Command+E on a Mac, to merge those two
| | 03:13 | linen layers together.
| | 03:15 | Now we need to repeat those exact
same steps for the pattern layer, so go
| | 03:18 | ahead and select it.
| | 03:19 | And, by the way, the pattern layer is
the one that's generating the biggest
| | 03:23 | seams for us, so it's very important
that we do the exact same steps to this one.
| | 03:27 | With the pattern layer selected, press
Control+Alt+T; Command+Option+T on the Mac.
| | 03:31 | Drag that bottom handle all
the way to the top of the canvas.
| | 03:34 | You should see those same values;
| | 03:36 | a Width of 100%, a Height of -100%.
| | 03:39 | Press Enter, or Return, in order
to accept that transformation.
| | 03:42 | You have created a
vertically flipped copy of the layer.
| | 03:45 | You now need to merge it with the original
by pressing Control+E, or Command+E on a Mac.
| | 03:50 | Press Control+Alt+T for a fourth time, Command+
Option+T on the Mac. Drag it to the right.
| | 03:54 | You may want to confirm your
values up here in the options bar.
| | 03:58 | You should see a Width value of -100%,
and a Height value of 100%. Then go
| | 04:03 | ahead and press the Enter key, or the Return key
on the Mac, in order to accept that modification.
| | 04:07 | Notice we have no seams whatsoever;
| | 04:09 | we just have a double
flipped version of that pattern.
| | 04:13 | Go ahead and press Control+E, or Command+E
on a Mac, in order to merge those two
| | 04:17 | pattern layers together.
| | 04:18 | You do not, however, want to
merge pattern with linen.
| | 04:21 | You might as well leave those two
layers independent of each other.
| | 04:24 | We are now done transforming this image.
| | 04:26 | You can zoom in to make sure
you're not seeing any seams at all.
| | 04:29 | Go ahead and close the image.
| | 04:31 | Click the Yes button here on the PC, or
the Save button on the Mac, in order to
| | 04:35 | update that pattern inside the letters.
| | 04:38 | Back here inside the 3D composition,
double-click on the thumbnail for the 3D
| | 04:42 | layer to bring up the 3D panel.
| | 04:44 | Make sure that the Front Inflation
Material is selected, drop down to the little
| | 04:48 | page icon next to the word Bump, and
choose Edit Properties, because we need to
| | 04:53 | eliminate the fact that we are
increasing the resolution of the image. That
| | 04:57 | would further increase the resolution
of the image, and still generate a seam.
| | 05:01 | So we need to go ahead and set the U
Scale value to 1, and the V Scale value to
| | 05:05 | 1 as well. Then click OK, and that will
again send Photoshop on its merry way,
| | 05:10 | rendering the scene in the background
while the Texture Properties dialog box
| | 05:14 | is still up on screen.
| | 05:15 | So if you don't want that, if you
want to see what's going on, go ahead and
| | 05:17 | click to interrupt the ray tracing process.
| | 05:20 | I am going to also hide the 3D panel,
and then I will go up to the 3D menu
| | 05:24 | and choose Resume Progressive Render, so that
Photoshop can continue rendering that seam.
| | 05:30 | So the good news is, we have eliminated all
seams inside of our texture. That's great!
| | 05:34 | The bad news is, we still need to go
ahead and assign the material to the back
| | 05:38 | surfaces of the letters, so click to
interrupt the ray tracing process, and then
| | 05:43 | let's bring back the 3D panel.
| | 05:45 | With the Front Inflation Material
selected, click on that sphere, and then click
| | 05:49 | the right pointing
arrow head; choose New Material.
| | 05:52 | Let's go ahead and call this Linen
pattern, like so, and then click OK.
| | 05:57 | Now, click off the panel in order to hide it.
| | 05:59 | Click on Back Inflation Material at the
bottom of the Materials list. Click on
| | 06:03 | the sphere again, scroll down to the
bottom of the list, and go ahead and select
| | 06:07 | that Linen pattern that you just created.
| | 06:09 | Now, just so we can see what's
going on here, I'm going to click to
| | 06:12 | interrupt the process.
| | 06:14 | Hide that subpanel, hide the 3D panel
as well, and then I will go back to the
| | 06:17 | 3D menu and choose Resume Progressive
Render, so that we can go ahead and render
| | 06:22 | out that final version of the seam.
| | 06:23 | Now, I am not going to make you
watch the render process this time.
| | 06:27 | I am going to go ahead and
let it finish between movies.
| | 06:29 | But I do want you to notice something here.
| | 06:31 | Notice that we have this kind of
little light dot pattern that's appearing
| | 06:36 | inside of the letters.
| | 06:37 | I love that pattern, however, it's
ultimately going to get rendered away.
| | 06:42 | That's a function of the noise that
Photoshop resolves as it's rendering the scene.
| | 06:45 | Now, if you really like the noise, you
can just click to interrupt the render
| | 06:49 | process, and that would keep the noise
in the letters, but it would also leave a
| | 06:52 | lot of noise in the shadows.
| | 06:54 | So that's not the ideal solution.
| | 06:56 | I will show you the ideal
solution in the very next exercise.
| | Collapse this transcript |
| Simulating worn fabric with Soft Noise| 00:00 | In this exercise, I am going to show you
how to create a soft noise pattern that
| | 00:04 | ends up giving our letters
a kind of worn fabric look.
| | 00:07 | I did go ahead and let the ray tracing
process complete, and that does take care
| | 00:11 | of the 3D portion of this project.
| | 00:14 | However, as is, I would say, invariably the case
| | 00:17 | with 3D type effects in Photoshop, much
of your work is accomplished using 2D
| | 00:21 | layers, and this next effect
is a case and point.
| | 00:25 | So if you're working along with me, go
ahead and click on the top layer in this
| | 00:28 | stack here inside the Layers
panel, and then press Control+Shift+N, or
| | 00:32 | Command+Shift+N on the Mac, to
bring up the New Layer dialog box.
| | 00:35 | I'll go ahead and name this layer
fluff. You also want to turn on Use
| | 00:39 | Previous Layer to Create Clipping
Mask, and click OK in order to clip this
| | 00:43 | effect inside the 3D layer.
| | 00:46 | Next go up to the Edit menu, and
choose the Fill command, or you can press
| | 00:50 | Shift+Backspace on the PC, or Shift+
Delete on the Mac. And go ahead and change the
| | 00:54 | Use option to 50% Gray, Blending
should be set to Normal, 100%, Preserve
| | 00:59 | Transparency should be turned off as by
default, and you'll fill both the letters,
| | 01:04 | and the shadow, with gray.
| | 01:06 | Now, we want to limit our
modifications to just the letters, so go ahead and
| | 01:09 | switch over to the Channels panel.
| | 01:11 | Control+Click, or Command+Click, on the
letters channel in order to load that mask
| | 01:15 | as a selection. Return to the Layers
panel, and go ahead and drop down to the Add
| | 01:19 | layer mask icon and give it a click
in order to limit the effect to the
| | 01:24 | interior of the letters.
| | 01:25 | Next we're going to go ahead and
apply a few static filter effects, but you
| | 01:28 | don't want to apply them to the mask,
so go ahead and click on that gray
| | 01:32 | thumbnail right there to make sure
the pixels themselves are active.
| | 01:36 | Then go up to the Filter menu, choose
Noise, and choose Add Noise. And you can
| | 01:41 | play around with these values, but I
came up within an Amount setting of 12.5%.
| | 01:44 | I went ahead and set Distribution to
Gaussian, and turned on the Monochromatic
| | 01:49 | check box, and then clicked OK, and we
end up getting this Noise pattern here.
| | 01:54 | That's going to be a little bit too
noisy. In other words, if you zoom in here,
| | 01:59 | you have single pixels of noise at
work, which isn't really the way that
| | 02:03 | photographic fabric works. So let's
blur things ever so slightly by going up to
| | 02:07 | the Filter menu, choosing Blur,
and then choosing Gaussian Blur.
| | 02:11 | And I recommend you set the Radius
value to the lowest value that's going to
| | 02:15 | make any real difference, and that's a
value of 0.3. Then go ahead and click OK
| | 02:20 | in order to accept that effect.
| | 02:22 | This doesn't look much like fabric
at all, so we need to adjust the blend
| | 02:26 | settings. And we're going to start
things off by changing the blend mode from
| | 02:30 | Normal, to Screen, so we're
just adding bits of light fluff.
| | 02:34 | However, that's too much brightness,
so go ahead and double-click on an empty
| | 02:39 | portion of this layer, and I recommend
you double-click right here in front of
| | 02:43 | the little arrow icon to bring up the
Layer Style dialog box. And then go ahead
| | 02:47 | and drag this black triangle under the
This Layer slider, and take it up to a
| | 02:52 | value of 100. So you're saying
anything with a luminance level of 100 or
| | 02:56 | darker goes invisible.
| | 02:58 | And then I want you to press the Alt
key, or the Option key on the Mac, and drag
| | 03:01 | the right half of that triangle until
you get a value of 220. So you should see
| | 03:07 | 100 before the slash, 220 after the
slash, and then that final value is 255,
| | 03:12 | because we did not move
the white slider triangle.
| | 03:15 | Now go ahead and click OK in
order to accept that modification.
| | 03:19 | So that looks pretty good to me.
| | 03:21 | You can see these little
bits of white fluff here.
| | 03:24 | If you want to check out the before
and after, I'll go ahead and turn off this
| | 03:27 | fluff layer at the top of the stack.
| | 03:29 | This is before the addition of that
noise, and this is after the addition of
| | 03:33 | that noise. Now I'll press Control+0, or Command+0
on the Mac, in order to zoom out from the image.
| | 03:38 | We do have a fair amount of fluff
going on; that's good. However, my biggest
| | 03:43 | problem now is the letters
are just too darn bright.
| | 03:45 | The top letters are a little bit too bright.
| | 03:47 | The bottom letters are downright
washed out. Now of course, I could go back to
| | 03:51 | the 3D scene, and modify those lights,
and that would take me like 10 or 15
| | 03:56 | minutes to get everything just right.
Or, I could add an adjustment layer with a
| | 04:00 | gradient mask, which is going to take a
lot less time, as I'll show you in the
| | 04:04 | next and final exercise.
| | Collapse this transcript |
| Resolving last-minute lighting issues| 00:00 | In this exercise, we are going to
resolve our last minute lighting issues using
| | 00:04 | a levels adjustment layer, combined with
the gradient mask. And I want to go ahead
| | 00:09 | and sandwich this adjustment layer
between the hue/saturation layer, and that
| | 00:13 | fluff layer at the top of the stack.
| | 00:15 | So I'll go ahead and click on the hue
/saturation layer to make it active,
| | 00:18 | and then I'll press the Alt key, or
the Option key on the Mac, and click on
| | 00:22 | this black/white icon at the bottom of the
Layers panel, and choose the Levels command.
| | 00:26 | By the way, if you loaded dekeKeys, you
can also use my keyboard shortcut, which
| | 00:30 | is Control+Shift+L, or Command+Shift+L on a Mac.
| | 00:33 | Because we're sandwiched between two
clip players, the Use Previous Layer to
| | 00:37 | Create Clipping Mask check
box is automatically turned on.
| | 00:40 | Let's go ahead and call this
layer contrast, and click OK.
| | 00:44 | Then inside the Adjustments dialog box,
I am going to go ahead and click inside
| | 00:48 | the Gamma value right there, and I am
going to press Shift+down arrow five times
| | 00:51 | in a row in order to take that value
down to 0.5, and then I'll press the Tab
| | 00:56 | key a few times in order to
select the final Output Levels value.
| | 01:00 | I want to go ahead and take those
specular highlights down a little bit.
| | 01:03 | So I'll press Shift+down arrow a couple
of times to reduce that value from 255,
| | 01:08 | to 235. And that ends up dimming down
the letters considerably, but as you can
| | 01:13 | see, it's the bottom
letters that are the brightest.
| | 01:16 | The top letters are relatively darker.
| | 01:18 | And I actually think that I've
made the top letters too dark,
| | 01:21 | so I am going to add a layer mask.
| | 01:23 | I'll start by double-clicking to the
right of the word masks there in order
| | 01:27 | to collapse the Adjustments panel,
and then I'll drop down to the bottom of
| | 01:30 | the Layers panel, and click on the Add
layer mask icon to add a layer mask to
| | 01:34 | this adjustment layer.
| | 01:35 | Then I'll go over and grab the Gradient
tool, and you may want to press the D key
| | 01:40 | to ensure that your foreground and
background colors are set to their defaults,
| | 01:43 | which, because we're working inside of
a mask, will be white for the foreground
| | 01:47 | color, and black for the background color.
| | 01:49 | Also make sure that the very first Gradient
is selected, which is Foreground to Background.
| | 01:53 | You want to be working with the Linear Gradient.
| | 01:55 | The mode should be Normal, Opacity 100
%, Reverse turned off, and so forth. Those
| | 02:00 | are all default settings.
| | 02:02 | Now I am going to drag from the top of
this inner ring of the S upwards while
| | 02:07 | pressing the Shift key until I get to
the bottom edge of the bar of the T, and
| | 02:11 | then I'll go ahead and release. And that
goes ahead and creates a Gradient mask,
| | 02:15 | as you can see here inside the Layers
panel, and it brightens the top half of the
| | 02:18 | top letters significantly. And in
fact, it goes a little bit too far.
| | 02:22 | And to back things off, what you want to
do is go to the Window menu, and choose
| | 02:26 | Masks to bring up the Masks panel.
And then I want you to take that Density
| | 02:31 | value down from 100%, to 50%. So what
you're doing is brightening the mask.
| | 02:36 | You can see that instead of a gray to
white gradient there in the layer mask, we
| | 02:39 | now have a gray to white gradient.
| | 02:42 | But it all happens on the fly.
| | 02:43 | So you can change that Density value
back to 100% to restore the black to white
| | 02:48 | gradient anytime you like.
| | 02:49 | So in other words, it's a nondestructive,
so called parametric, modification. And
| | 02:54 | that goes ahead and darkens the tops
of the letters, so that the lighting up
| | 02:57 | here is uniform throughout the image.
| | 02:59 | One of the great things about this
adjustment layer, if I hide the Mask panel to
| | 03:03 | get myself a little more room, and
scroll up to the top of the stack, now notice
| | 03:07 | that that fluff layer at the very
top has more impact than it did before.
| | 03:11 | So if I turn it off, this is what the
letters look like without the fluff;
| | 03:14 | that's what they look like with the
application of that light, soft noise.
| | 03:18 | And that's it folks.
| | 03:20 | That's how you create soft, fluffy 3D
pillow type here inside Photoshop Extended.
| | Collapse this transcript |
|
|
6. Depth-Map Letters in Stylized GraniteMaking blocky comic-book-style type| 00:00 | In this chapter, I am going to show you
how to create these blocky, comic book
| | 00:03 | style, granite letters.
| | 00:05 | And this time around, we won't be
using Repousse to extrude the type. Instead, we
| | 00:09 | will render the type as a depth map.
| | 00:12 | And that way Photoshop goes ahead
and automatically draws the outlines
| | 00:15 | around the various blocks.
| | 00:17 | It also generates the blocks randomly,
so that you get a different effect each
| | 00:21 | and every time you perform this technique.
| | 00:23 | We are going to start off inside this
file called Math rocks.psd. You shouldn't
| | 00:28 | get any font warnings; we are using
standard versions of Myriad that ship along
| | 00:32 | with the Creative Suite.
| | 00:34 | Now, notice that we have white
type set against the black background.
| | 00:38 | You may recall from my depth map
chapter, back in the 3D objects course, that
| | 00:42 | darker colors recede, and
lighter colors come forward.
| | 00:46 | So what we need to do in order to
create the blocks is to introduce some
| | 00:49 | random shades of gray.
| | 00:51 | And we will do that using
a couple of Smart Filters.
| | 00:53 | So if you are working along with me,
make sure that the type layer is selected
| | 00:57 | here the Layers panel.
| | 00:58 | Then press Control+Shift+N, or Command+Shift
+N on the Mac, and bring up the New Layer
| | 01:03 | dialog box. I'm going to call my layer
granite, and turn on the Use Previously
| | 01:07 | Layer to Create Clipping
Mass check box, and click OK.
| | 01:11 | The next step is to fill this new layer
with gray, and the easiest way to do that is
| | 01:15 | to go the Edit menu, and choose
the Fill command, or you can press
| | 01:18 | Shift+Backspace on the PC,
or Shift+Delete on the Mac.
| | 01:22 | Then change Use from Foreground color, to
50% gray, and click OK to fill that layer.
| | 01:28 | The next that is to convert this layer
to a Smart Object so that we can apply
| | 01:31 | editable Smart Filters.
| | 01:33 | To do so, go up to the Layers panel
flyout menu and choose Convert to Smart
| | 01:36 | Object, or if you loaded Dekekeys, you
can press Control+Comma, or Command+Comma on the Mac.
| | 01:41 | Now, at this point you may wonder, why
are we going with this independent layer
| | 01:45 | that's clipped inside of the text layer?
Why don't we apply the filters directly
| | 01:48 | to the text layer instead?
| | 01:50 | Well the reason is, we want to introduce
blocky forms inside the letters, but we
| | 01:55 | want the letter forms to remain as is.
| | 01:57 | That way we won't ruin
the legibility of the type.
| | 02:00 | All right, now that we have this clips
Smart Object, go up to the Filter menu,
| | 02:04 | choose the Noise command, and choose Add Noise.
| | 02:07 | And the whole idea here is we are trying
to introduce some random shades of gray
| | 02:10 | for Photoshop to work with.
| | 02:12 | I went ahead and cranked the amount
value up to 25%, and set Distribution to
| | 02:16 | Gaussian, and very important: go ahead
and turn on the Monochromatic check box.
| | 02:20 | Then click OK to apply that filter.
| | 02:23 | Next go over to the Filter panel, and
you will see, to the right of the words
| | 02:26 | Add Noise, this little slider icon. Go
ahead and double-click on it to bring
| | 02:30 | out the Blending Options dialog box,
and change the mode to Multiply in order
| | 02:34 | to burn in that noise.
| | 02:36 | Then click the OK button to accept that effect.
| | 02:38 | Next we need to turn the noise in the
blocks, and you do that by going to the
| | 02:42 | Filter menu once again. This time
choose Pixelate, and then choose the
| | 02:46 | Crystallize command.
| | 02:47 | And I went ahead and took the Cell Size
value up to 36. You can go your own way
| | 02:52 | here, if you want to, and if you were
working in a higher resolution image, you
| | 02:55 | would definitely want to enter a higher value.
| | 02:57 | However, as I say, 36 works well for this image.
| | 03:00 | And next, assuming that one of your
Selection tools is active, go ahead and press
| | 03:04 | the 8 key to reduce the opacity to 80%
so that we merge the effect with the
| | 03:09 | white letters, and thereby
slightly lighten the effect.
| | 03:12 | All right, now let's go ahead and
turn these letters into a depth map.
| | 03:16 | And you do that by making sure the
granite layer selected, and then Shift-click
| | 03:21 | on the black layer, so that all three
of these layers are selected. That top
| | 03:25 | layer, the one that says tagline (for
later), make sure that's not part of your
| | 03:28 | selection, but everything else is.
| | 03:30 | And then go up to the 3D menu, choose
New Match from Grayscale, and choose Plain.
| | 03:36 | And that will go ahead and render
those letters out in 3D, so that the black
| | 03:40 | background recedes backward, and the
blocks inside the text come forward.
| | 03:44 | Now at this point, the text looks
pretty rough, but we are going to make it
| | 03:47 | look a whole lot better when we
position, orient, and scale the letters in the
| | 03:51 | next exercise.
| | Collapse this transcript |
| Scaling depth-map bumps| 00:00 | In this exercise, we are going to take
our depth map letters, and we are going
| | 00:03 | to position and orient our view of the object.
| | 00:06 | We are also going to scale the
bumps so that they're not poking out at
| | 00:09 | us quite this abruptly.
| | 00:11 | I have saved my progress as Spiky letters.psd.
| | 00:14 | Make sure that your 3D object is
selected here inside the Layers panel. And by
| | 00:17 | the way, notice that the layer is
called granite, after the top layer in the
| | 00:21 | stack that we selected in the
previous exercise. And this is a pretty
| | 00:25 | important tip, by the way.
| | 00:26 | You want to make sure that you call
that top layer whatever it is you want to
| | 00:30 | call the object, because that way your
depth map will be named accordingly. All right!
| | 00:35 | Let's organize our view for starters.
| | 00:37 | Go ahead and click and hold on the
Camera Rotate tool towards the bottom of the
| | 00:40 | toolbox, and then select the 3D Pan
Camera tool from the flyout menu, and I want
| | 00:45 | you to change the position values as follows.
| | 00:47 | I came up with an X value of -0.035,
and that's going to scoot our view just
| | 00:54 | slightly to the left, which, of course,
means we are nudging the object to the right.
| | 00:58 | To zoom in, go ahead and change the Y
value to -1.35, and that's going to take us
| | 01:04 | dangerously close to those spikes.
| | 01:06 | Then I want you to change the Z value
to -0.8, which may seem a little odd,
| | 01:11 | because it moves or view down so
dramatically that we can see just a bit of the
| | 01:15 | 3D object at the top of the canvas.
| | 01:17 | We will go ahead and remedy that
problem by adjusting the orientation.
| | 01:22 | So go up to the options bar and
click on the Orbit the 3D Camera tool.
| | 01:26 | Then let's change the X value to -57,
and I am looking for a Y value of -10, and
| | 01:32 | then finally, I changed the
Z value to 175. All right!
| | 01:36 | Now we have got our view
exactly where we want it.
| | 01:38 | But these letters are so darn spiky that
there is no chance anyone would be able
| | 01:42 | to make out what they say.
| | 01:43 | To scale the letters, go ahead and
click and hold on the Object Rotate tool,
| | 01:47 | again, near the bottom of the toolbox,
and select the 3D Object Scale tool from
| | 01:52 | the flyout menu. And then change the Y
value to 0.2, and that will go ahead
| | 01:57 | and scale those bumps to 20%
of their former height.
| | 02:00 | Now I also want you to make one slight
change to the position of this object.
| | 02:04 | Go ahead and select the Drag the 3D
Object tool, once again in the options bar,
| | 02:09 | and change the Y value to -0.1735, and
then press the Enter key, or the Return key
| | 02:16 | on the Mac, and that will go ahead and
scoot those letters slightly upward, so
| | 02:19 | that they match the light that
we'll load in the next exercise.
| | 02:22 | Now, notice that we have these weird
black spikes along the edge of the S, and
| | 02:27 | that's caused by the fact that
Photoshop not only loaded those granted layers
| | 02:31 | as a depth map, but it also loaded
them as a diffuse texture, and an opacity
| | 02:36 | map, which between you and me,
doesn't really make any sense, and it's
| | 02:39 | definitely not what we want.
| | 02:41 | So double-click on the thumbnail for
the 3D layer, and then click the granite
| | 02:45 | material below the words Depth Map, and drop
down to the page icon next to the word Diffuse.
| | 02:50 | Click on it and choose Remove Texture.
| | 02:53 | And that goes ahead and renders
the text almost entirely transparent.
| | 02:57 | It's as if the Opacity
map all of a sudden woke up.
| | 03:00 | We need to get rid of it too.
| | 03:01 | So click on the page icon to the right
of the Opacity value, and choose Remove
| | 03:05 | Texture once again, and you
end up with this effect here.
| | 03:08 | And this is actually, believe it or not,
exactly what we want. And you'll see how
| | 03:12 | much better it ends up looking when we
light those letters, and ray trace them as
| | 03:16 | well, in the very next exercise.
| | Collapse this transcript |
| Using the built-in shadow catcher| 00:00 | I've saved my progress as
Nicely scaled bumps.psd.
| | 00:03 | In this exercise, we're going to light
our scene, and ray trace it as well, and I
| | 00:07 | am going to do so by bringing up the 3D panel.
| | 00:10 | The two default infinite lights make
for some pretty flat lighting where the
| | 00:13 | scene is concerned, so let's go ahead
and load the light that I've created in
| | 00:16 | advance for you, by clicking in the
flyout menu icon, and choosing Replace Lights
| | 00:21 | Presets. And then go ahead and navigate
your way to the 06_blocky folder, find
| | 00:25 | the Rock light.p3l file,
and go ahead and load it up.
| | 00:29 | And as you can see, we go
ahead and load a single spotlight.
| | 00:32 | Now, Photoshop does a pretty poor job of
previewing what these letters look like,
| | 00:36 | subject to this light.
| | 00:37 | To gain an accurate sense of what's
going on, you need to ray trace the scene.
| | 00:42 | So go ahead and click on Scene near
the top of the panel, and then drop down
| | 00:46 | first to Global Ambient Color,
click on its swatch, and let's change the
| | 00:50 | brightness value to 50%; click OK. And
then go ahead and change the Quality from
| | 00:55 | Interactive (Painting), to Ray
Traced Final, this time around.
| | 00:59 | And after just a single ray tracing pass,
you start to get a sense of what's going on.
| | 01:03 | Now I am going to go ahead and click to
interrupt the ray tracing process for a
| | 01:07 | moment, and hide the 3D panel.
| | 01:08 | And you may look at this and say, okay,
how in the world are we getting shadows?
| | 01:13 | In most of the previous chapters, we've
had to turn on the Ground Plane Shadow
| | 01:17 | catcher, which we didn't do this time
around. And we also had to lay the letters
| | 01:20 | down against the ground plane. And in
fact, if you still have one of your 3D
| | 01:24 | tools selected, as I do, then go up to
the View menu, choose Show, and choose 3D
| | 01:29 | Ground Plane, and you'll see that that
ground plane is rushing out toward us.
| | 01:33 | So the letters are actually
perpendicular to the ground plane, as by default.
| | 01:37 | What in the world's going on?
| | 01:39 | Well, what's happening is that the
letters are casting a shadow onto the back of
| | 01:44 | that depth map, that big black background.
| | 01:47 | So in other words the depth map has
its own ground plane built into it, which
| | 01:51 | means we can go ahead and turn
Photoshop's 3D Ground Plane off, and get a better
| | 01:55 | sense of what's actually going on.
| | 01:57 | I am also going to switch back to the
Rectangular Marquee tool to hide the 3D
| | 02:01 | widget, and then I'll go up to the 3D
menu, and choose Resume Progressive Render
| | 02:05 | in order to complete the
rendering of this scene.
| | 02:08 | Now what I'd like you to do, if you're
working along with me, is go ahead and let
| | 02:11 | this process complete.
| | 02:13 | It's going to take several minutes, by
the way, so this is a good opportunity to
| | 02:16 | walk away from the machine.
| | 02:18 | You can walk away from this movie as
well, because I am not going to sit here
| | 02:20 | and ray trace the entire scene in front of you.
| | 02:23 | However, I will see you in the next
exercise with a fully rendered 3D layer that
| | 02:28 | we will introduce into a new background.
| | Collapse this transcript |
| Opening an ACR image from Photoshop| 00:00 | All right! So that was a pretty
long rendering process.
| | 00:03 | The good news is, there's no more ray
tracing to be done, even though we will be
| | 00:07 | introducing some more 3D
layers into this composition.
| | 00:11 | In this exercise, we are going to go
ahead and introduce, and integrate, a
| | 00:14 | background image, and we are going to
do so by opening that image here inside
| | 00:18 | Photoshop, into Camera Raw.
| | 00:21 | I've saved my progress as Ray traced
shadows.psd, and if you're working along
| | 00:25 | with me, go to the File menu, and on the Mac,
you can choose the standard Open command.
| | 00:30 | Here on the PC, you have to
choose the Open As command.
| | 00:33 | Then navigate your way to the 06_
blocky folder, find the image called Fotolia
| | 00:38 | sand.jpg, which comes to us
from the Fotolia Image Library.
| | 00:42 | Then on the Mac, you would set
the Format option to Camera Raw.
| | 00:47 | Here on the PC, you change Open As to
Camera Raw, and then there's this huge
| | 00:51 | long list of different
file formats in parentheses.
| | 00:55 | The Camera Raw is what you are looking for.
| | 00:56 | Then go ahead and click the Open button.
| | 00:59 | Then here inside Camera Raw, switch
to the fX icon, and raise the Grain
| | 01:04 | amount value to 25%.
| | 01:06 | The Size and Roughness values
are fine set to their defaults.
| | 01:09 | Then I want you to change the
Vignetting amount to -50 in order to create a
| | 01:14 | slight bit of darkness around this background.
| | 01:16 | Then press the Shift key, and click on
the Open Object button down here in the
| | 01:20 | lower right corner of the window, and
that'll open the image as a Smart Object.
| | 01:25 | Now, it happens to be open in its own
separate image window; we need to move it
| | 01:28 | into our composition at hand.
| | 01:30 | So go ahead and right-click anywhere
inside the image, and choose Duplicate layer,
| | 01:35 | and then change the Document setting
to Ray traced shadows, or whatever is the
| | 01:39 | name of the image you are working inside.
| | 01:41 | Then click OK to transfer that Smart Object.
| | 01:44 | Now, we don't need this
image window open anymore.
| | 01:46 | So go ahead and close it, and click on
the No button, or the Don't Save button on
| | 01:50 | the Mac, in order to dismiss your
changes, because, of course, here they are
| | 01:54 | inside the Layers panel. All right!
| | 01:56 | Now, I am going to take that new layer
and drag it down to the bottom of the
| | 01:59 | stack, and now I want you to click on
the 3D layer, and let's go ahead and
| | 02:03 | change the blend mode from Normal, to
Multiply, in order to burn in those shadows.
| | 02:07 | Now, the shadows aren't
colorful enough to match the sand.
| | 02:10 | Now, of course, the way things are set up
currently, we can see the seams up here
| | 02:14 | at the top left, and bottom
right corners of the image.
| | 02:17 | The easiest way to solve that
problem is to lighten the image.
| | 02:20 | So what I'd like you to do is press the
Alt key, or the Option key on the Mac, and
| | 02:23 | click that black/white icon at the
bottom of the panel, and then choose Levels.
| | 02:28 | Or, if you loaded dekeKeys, you can just
press Control+Shift+L, or Command+Shift+L on
| | 02:31 | the Mac, in order to bring
up the New Layer dialog box.
| | 02:34 | I'm going to name this layer contrast,
and turn on Use Previous Layer to Create
| | 02:38 | Clipping Mask in order to mask our adjustment
layer to the 3D layer below it, and then click OK.
| | 02:45 | And I'm also going to expand the
size of this Adjustments panel, so I can
| | 02:48 | better see what I'm doing, and I will
do that by clicking on this little folder
| | 02:51 | icon in the bottom left corner of the
panel. Then press and hold the Alt key, or
| | 02:55 | the Option key on the Mac, and drag
that black slider triangle until the point
| | 03:00 | where you just begin to see some blackness
onscreen. And then take it back a little bit,
| | 03:04 | and the black point value I came up with is 35.
| | 03:07 | Then go ahead and do the
same for the White point.
| | 03:09 | So Alt+Drag, or Option+Drag, that white
slider triangle until all that grimy
| | 03:15 | blackness around the edges of the image
disappears, and that happens right at 178.
| | 03:20 | So you want a white point value of 178,
like so. And now I'm going to go ahead
| | 03:25 | and hide my Adjustments panel, and bring
back my Layers panel by double-clicking
| | 03:29 | to the right of the Paths tab.
| | 03:31 | Now, of course, the color of the shadows
doesn't match the background very well.
| | 03:34 | So go ahead and click on the granite
layer once again, and then drop down to the
| | 03:38 | fX icon, and choose Color Overlay.
| | 03:41 | That's going to turn the entire layer
red, which obviously isn't what we want.
| | 03:45 | However, to get a sense of what we are
doing, go ahead and change the blend mode
| | 03:48 | from Normal, to Screen, and that will
go ahead and infuse the color into the
| | 03:52 | darkest portions of the image.
| | 03:54 | Then click in the color swatch to bring
up the color picker dialog box. Change
| | 03:58 | the hue value to 35, a saturation value
of 100% is just fine, and let's take the
| | 04:03 | brightness value down to 50%, then click OK.
| | 04:06 | Now, notice what we've ended up doing
is brightening the entire image, and as a
| | 04:10 | result, we can see the seams once again.
| | 04:12 | So click on this item
that says Blending Options:
| | 04:14 | Custom, over here in the left-hand list,
and then turn on the Blend Interior
| | 04:18 | Effects as Group check box, and all
that brightness will disappear, because we
| | 04:23 | are telling Photoshop to go ahead
and screen in the color first, and then
| | 04:27 | multiply in those shadows.
| | 04:29 | Now, click OK to apply the effect.
| | 04:31 | So there you have another way to colorize
shadows and 3D objects here inside Photoshop.
| | 04:36 | Now, I want to up the color of
the sand layer just a little bit.
| | 04:40 | So I'll go ahead, and press the Alt key,
or the Option key on the Mac, and drag
| | 04:44 | that Color Overlay effect, and then go
ahead and drop it onto the sand layer.
| | 04:48 | Now, that's not the specific
variation of color overlay we are looking for.
| | 04:53 | So double-click on this bottom Color
Overlay effect to bring up the Layer Style
| | 04:57 | dialog box, and switch the Blend mode
from Screen, to Color. And then go ahead and
| | 05:02 | take the Opacity value down to 50%, and click OK.
| | 05:06 | That goes ahead and gives me a subtle,
but actually really great 3D shading effect.
| | 05:11 | In the next exercise, we'll introduce
the 3D block outlines using a duplicate of
| | 05:16 | our existing 3D layer.
| | Collapse this transcript |
| Tracing and shading the blocks| 00:00 | In this exercise, I'm going to show you
how to trace the block letters, as you're
| | 00:04 | seeing here inside the
final version of the image.
| | 00:07 | I've saved my progress as Background &
shadows.psd, and we're going to need to
| | 00:11 | duplicate both the 3D
layer, and its adjustment layer.
| | 00:14 | So go ahead and click on one; Shift-click
on the other, in order to select them both.
| | 00:18 | Then right-click on an empty
portion of either layer, and choose the
| | 00:21 | Duplicate layers command.
| | 00:23 | We don't want to send these layers to
a different image, so just go ahead and
| | 00:26 | click the OK button in order to create
duplicates of both layers here inside the Layers panel.
| | 00:31 | You can go ahead and
collapse the bottom granite layer.
| | 00:34 | We might as well rename that layer as
well. Let's call it shadows instead. And
| | 00:38 | then I'm going to rename the
copy of the granite layer, outlines.
| | 00:41 | All right; here is how to trace those blocks.
| | 00:44 | Double-click on the thumbnail for
the 3D layer to bring up the 3D panel.
| | 00:48 | Make sure Scene is selected on the
top of the list, and change the Quality
| | 00:51 | setting from Ray Traced
Final, to Interactive (Painting).
| | 00:55 | Now I want you to click on the Edit
button in order to bring up the 3D Render
| | 00:58 | Settings dialog box, and let's change
the Face Style from Solid, to Flat, so that
| | 01:03 | we end up with these flat shadows
around the blocks. And then I want to trace
| | 01:07 | the blocks by turning on this Enable
Line Rendering check box, and we want an
| | 01:11 | Edge Style of Constant.
| | 01:12 | I'm going to raise the Line Width value
to 2. And you'll see that we're tracing
| | 01:16 | way too much of the image at this
point, so let's take up that Crease
| | 01:20 | Threshold value as well.
| | 01:22 | If you just nudge that value up to 2, you'll
see that all that background tracing goes away.
| | 01:27 | However, we end up with too many
outlines inside the letters, at least for my
| | 01:30 | taste, so I'm going to press Shift+up
arrow a couple of times, in order to take
| | 01:35 | that Crease Threshold value up to 22.
| | 01:37 | Then I basically continue to raise
that value -- notice that I press the up
| | 01:41 | arrow to take it to 23 --
| | 01:43 | I kept taking the value up until I notice
that certain critical lines were disappearing.
| | 01:49 | And again, this is a pretty subjective
decision, but I finally decided that a
| | 01:52 | Crease Threshold of 23 produced the best results.
| | 01:56 | Once you've established these values, go
ahead and click OK in order to trace the artwork.
| | 02:01 | Now there is no sense, at this point, in
changing the Quality setting to either
| | 02:05 | Ray Traced Draft, or Ray Traced Final.
| | 02:07 | Notice if I select Ray Traced Draft
nothing happens, and that's because there is
| | 02:11 | nothing to ray trace.
| | 02:12 | Let me show you why.
| | 02:13 | I'm going to switch that
Quality setting back to Interactive.
| | 02:16 | Click on the Edit button, and you'll
see, because we change the Face Style to
| | 02:19 | Flat, Reflections, Refractions, and
Shadows are all dimmed, which means there is
| | 02:24 | no sense in ray tracing.
| | 02:25 | All right, I'm just
going to cancel out of there.
| | 02:27 | All right, now I don't want these
letters turning brown like this, so I'm going
| | 02:31 | to make a few adjustments.
| | 02:32 | I'll start by closing the 3D panel, and
then double-clicking on the thumbnail for
| | 02:36 | the top contrast layer in order
to bring back my Adjustments panel.
| | 02:40 | I'll reduce the black point value
to 0, and I'm going to take the white
| | 02:43 | point value down to 170.
| | 02:45 | And then, that's a little brighter than
I'm looking for, so I'll go ahead and
| | 02:48 | take the Gamma value down.
| | 02:50 | I went ahead and clicked
inside that value that says 1.00.
| | 02:53 | Now I'll press Shift+down arrow three
times, and then press the down arrow key by
| | 02:58 | itself five times in order
to reduce that value to 0.65.
| | 03:01 | All right, now I'll hide the
Adjustments panel; bring back up my Layers panel.
| | 03:06 | All right, now I don't want these
letters looking all brown like this, so I'll
| | 03:09 | double-click in the words Color Overlay
underneath the outlines layer to bring
| | 03:13 | up the Layer Style dialog box.
| | 03:15 | And I'm going to click the color swatch,
and take the saturation value down to 0,
| | 03:19 | so we end up with gray.
| | 03:21 | Click OK in order to apply that
setting, and then switch the Blend mode from
| | 03:25 | Screen, all the way down to Color, and
that will go ahead and leech the color
| | 03:29 | out of the letters.
| | 03:30 | Now, it's not doing exactly what I
want, because, you may recall, in the
| | 03:34 | previous exercise, I went ahead and
told Photoshop that I wanted it to apply
| | 03:39 | the blend mode of the overlay effect first,
and then the blend mode assigned to the letters.
| | 03:44 | I need to switch that order by
clicking on Blend Options: Custom, over here in
| | 03:48 | the left-hand list, and then turning
off Blend Interior Effects as Group, and
| | 03:52 | that just goes ahead and wipes out the color
in this layer, a little bit too much in fact.
| | 03:56 | So I'll drop back to Color Overlay.
| | 03:58 | I really just want to neutralize things.
| | 04:00 | So I'm going to take the Opacity value
down to 80%, and we end up producing some
| | 04:05 | pretty neutral letters, as you will soon see.
| | 04:07 | All right, now I'm going to click OK in
order to apply that effect, and finally,
| | 04:11 | I'm going to change the blend mode for
the entire layer, up here in the top left
| | 04:15 | corner of the Layers panel, from
Multiply, to Overlay. And we end up with this
| | 04:20 | blended effect here.
| | 04:21 | Now, you may look at this and say, Deke,
that's hardly blended. We've got maybe
| | 04:26 | some blending going on inside the
letters, but this area outside of the letters
| | 04:30 | is a real problem. And I will readily
admit to you that that is indeed the case,
| | 04:35 | which is why in the very next exercise
I'm going to show you yet another way to
| | 04:40 | mask out the letters.
| | Collapse this transcript |
| Masking block letters with the Magic Wand| 00:00 | In this exercise, I'm going to show you
absolutely the most efficient way to mask
| | 00:05 | out our traced letters.
| | 00:06 | I'm working inside a file called Line-
traced blocks.psd, and if you zoom in on
| | 00:11 | the composition, you'll see that
our lines are actually quite jagged.
| | 00:15 | Now, that's just the way things work
when you take advantage of Photoshop's line
| | 00:19 | rendering options, which is why I
didn't take advantage of this technique back
| | 00:23 | in the second chapter when we
were creating hand-drawn 3D type.
| | 00:27 | However, it turns out to be the best
solution for this particular effect, and it
| | 00:31 | permits us to take advantage of what
you might consider to be an absolutely
| | 00:36 | crazy masking option.
| | 00:38 | Anytime you see ragged transitions
inside of an image, that means your best
| | 00:43 | selection tool, believe it or not,
is the Magic Wand tool, and that's
| | 00:48 | because the Magic Wand excels like
no other tool inside Photoshop at
| | 00:52 | selecting along jags.
| | 00:53 | Let me show you what that looks like.
| | 00:56 | I'll go ahead and zoom back out here by
pressing Control+0, or Command+0 on the Mac.
| | 01:00 | And you'll need to go ahead and switch
the blend mode back to Normal in order to
| | 01:04 | mask the text successfully.
| | 01:06 | So go up to the blend mode pop-up menu
in the upper left corner of the Layers
| | 01:09 | panel and switch it to Normal, like so.
| | 01:12 | Then go ahead and select the Magic Wand
tool from the Quick Selection tool flyout menu.
| | 01:17 | Go up to the options bar and turn off
the Anti-alias check box, because after
| | 01:21 | all, we want to select along
those jags; we want to preserve them.
| | 01:25 | Then go ahead and turn on Sample All layers.
| | 01:28 | That way you're going to be
selecting the colors that you see.
| | 01:31 | That is to say, that blend of the
adjustment layer, along with the 3D layer.
| | 01:36 | Then finally, take the Tolerance option
up to 100, which may seem insane, and you
| | 01:41 | would never do that for
continuous tone photography work.
| | 01:44 | In fact, you would rarely use the Magic Wand
tool inside of a continuous tone photograph.
| | 01:49 | But it's great in this case, because
we're selecting lots of light colors
| | 01:52 | against black edges.
| | 01:54 | So there's really no way that we're
going to seep in to those black lines, as
| | 01:58 | long as we have black lines to work with.
| | 02:01 | We may find out that we've got problems
here and there, but let's give it a shot.
| | 02:05 | Go ahead and click over here on the
right-hand side of the image, and you
| | 02:09 | should select this entire region along the
right edge of the H, and the top of the S as well.
| | 02:14 | It looks like I've got a little bit of
weirdness up here in the upper right corner.
| | 02:18 | So we'll go ahead and Shift-click
in that region as well.
| | 02:20 | That kind of blows things, because we
are now selecting into the letters.
| | 02:25 | So I'll press Control+Z, or Command+
Z on the Mac, to undo that change.
| | 02:28 | We'll come back to that area.
| | 02:30 | Shift-click above the H, like so. That should go
ahead and select the majority of the background.
| | 02:35 | Shift-click inside any other region
that doesn't become selected. Just kind of
| | 02:39 | move around the image, and make sure
that you've got everything outside the
| | 02:43 | letters selected, as I do.
| | 02:44 | Now we've got to select the interior of
the letters by Shift-clicking inside the
| | 02:48 | R, Shift-click inside the O, Shift-click
under the R, like so, and then
| | 02:53 | Shift-click inside the A, and
that should take care of everything.
| | 02:57 | Now we still have some corner details
that aren't selected here, and we'll get to
| | 03:01 | those using the Lasso tool.
| | 03:03 | So go ahead and click on
the tool, or press the L key.
| | 03:05 | Then press and hold the Shift key, and
drag around that corner area, like so,
| | 03:09 | in order to select it.
| | 03:10 | I'm going to mosey on over to the
right-hand side of the image, Shift-drag
| | 03:14 | around this upper right corner, and then Shift-drag
around the lower right corner as well.
| | 03:19 | And that should be everybody.
| | 03:20 | It looks like I've gotten everything
that's not a layer is selected. And now
| | 03:24 | I'll go back to the Layers panel,
drop down to the Add layer mask icon at the
| | 03:29 | bottom of the panel, and press the Alt
key, or the Option key on the Mac, and click
| | 03:33 | on it, and that will mask away
everything that was selected.
| | 03:37 | Now look very carefully around your
image to make sure that you haven't masked
| | 03:42 | away a little piece of a letter.
| | 03:44 | It's very possible that
you will. Here is the thing:
| | 03:47 | what I'm seeing and what you're
seeing are going to be different, because
| | 03:50 | after all, way back when, we created
those random blocks using a combination of
| | 03:55 | Add Noise, and the Crystallize filter. But in
my case, I can see that I have a little problem.
| | 04:00 | Notice down here, in the bottom right
corner of the A, I've dropped away a
| | 04:04 | surface. And the easiest way to bring
it back is -- assuming that you don't have a
| | 04:08 | selection outline anymore, which you
shouldn't, because you just rendered that
| | 04:11 | selection outline as a mask --
| | 04:13 | go ahead and press the Alt key, or the
Option key on a Mac, and click, using the
| | 04:18 | Polygonal Lasso function, around that
area that you want to return to opacity.
| | 04:23 | Then, once you've selected that area,
you need to fill it with white here
| | 04:26 | inside the layer mask.
| | 04:27 | So make sure the layer mask thumbnail
is selected here inside the Layers panel,
| | 04:31 | and then check your
foreground and background colors.
| | 04:33 | In my case, the background color is
white, but you know what? I'll press the D
| | 04:36 | key, and that will make the foreground
color white. And then press Alt+Backspace,
| | 04:41 | or Option+Delete, in order to fill
that area in inside of the mask.
| | 04:44 | It appears I have another
weird little problem over here.
| | 04:48 | So I'll click to deselect the image,
and then Alt+Click around this area once
| | 04:53 | again in order to select that detail.
| | 04:55 | Press Alt+Backspace, or Option+Delete on
the Mac, in order to fill it with white
| | 04:58 | there inside the layer mask,
which, of course, restores the opacity.
| | 05:02 | I'll click again to deselect the image.
| | 05:04 | Press Control+0, or Command+0 on the Mac,
to zoom out, and it looks like my letters
| | 05:09 | are now entirely opaque. All right.
| | 05:11 | And now that we've successfully masked
the letters, go back to the blend mode
| | 05:14 | pop-up menu, and switch the mode from
Normal, to Overlay, in order to blend the
| | 05:19 | line art with the shadows in the background.
| | 05:21 | So just to make sure you
get what's going on here,
| | 05:23 | I'll turn off this outlines layer;
| | 05:25 | there's my shadows in the background.
| | 05:27 | I turn on the outlines layer again,
and there are my outlines with my flat
| | 05:31 | block shading. And thanks to the Overlay mode,
I'm able to blend these two 3D layers together.
| | 05:38 | So that pretty much finishes off the
3D Type effect, but we need some better
| | 05:42 | integration between this graphic type
effect, and our photographic background, and
| | 05:46 | I'll show you how that
integration works in the next exercise.
| | Collapse this transcript |
| Adding graphic effects to the background| 00:00 | All right, so we have these
wonderfully rendered comic book style granite
| | 00:03 | letters, and they're casting shadows onto
the background. Everything's awesome,
| | 00:07 | except for the fact that the highly
graphical stylized text doesn't really work
| | 00:12 | against a purely photographic background.
| | 00:15 | So we need to make the
background more graphical as well.
| | 00:17 | Now, we're going to do this in two passes.
| | 00:19 | In this exercise, we'll do the easy work, and
in the next exercise, we'll do the hard stuff.
| | 00:25 | I've saved my progress as Masked block
letters.psd, and I am going to go ahead
| | 00:29 | and click in the Fotolia sand
layer at the bottom of the stack.
| | 00:32 | We brought it in as a Camera Raw
Smart Object, so it's already prepped to
| | 00:36 | accept Smart Filters.
| | 00:37 | So go up to the Filter menu, and choose
that command that allows you to trace
| | 00:41 | anything inside Photoshop: Stylize, and
then Find Edges, and that'll go ahead and
| | 00:47 | trace every single little grain of sand.
| | 00:50 | Now, right now it looks like a big
dirty mess, for one thing. And notice that our
| | 00:54 | dark vignettes have now turned light.
| | 00:57 | So the Find Edges filter has
unfortunately had the effect of somewhat
| | 01:01 | inverting the image.
| | 01:02 | So, go ahead and scroll down to the
bottom of Layers panel, and we might as well
| | 01:05 | get rid of this filter mask;
it's not serving us any good.
| | 01:08 | So, right-click on the white filter
mask thumbnail, and choose the Delete
| | 01:12 | Filter Mask command.
| | 01:13 | And then go ahead and double-click on
the slider icon to the right of the words
| | 01:17 | Find Edges, and switch the
mode from Normal, to Multiply.
| | 01:20 | Now, the image doesn't look so much
graphical as dirty at this point.
| | 01:24 | So I am going to reduce the Opacity
value to 35%, and then I'll click OK in
| | 01:29 | order to accept that modification.
| | 01:30 | All right; so Photoshop has done a
reasonable job at this point of drawing
| | 01:35 | subtle tracing lines around the grains
of sand, but what we really need is more
| | 01:39 | grain. And so we're going to create
that grain using Add Noise, by going up to
| | 01:44 | the Filter menu, choosing Noise, and
then choosing the Add Noise command. And I'm
| | 01:48 | going to take the Amount value down to
12.5%, which is the default setting, by
| | 01:52 | the way. And I am going to leave
Distribution set to Gaussian, you want the
| | 01:56 | Monochromatic check box turned on, and then go
ahead and click OK in order to accept the filter.
| | 02:02 | Now the problem is, we
approached this in the wrong order.
| | 02:05 | We went ahead and traced the edges of
the sand, and then we added some new edges
| | 02:09 | in the form of Add Noise.
| | 02:11 | What we really want to do is trace the
noise, and this happens all the time when
| | 02:15 | you're applying Smart Filters inside Photoshop.
| | 02:18 | You realize after you apply one filter
that something else has to come first, and
| | 02:22 | all you need to do in order to remedy
the problem is just drag Find Edges up to
| | 02:27 | above Add Noise, and drop it into
place. And now we're applying the Add Noise
| | 02:31 | filter first in order to grit up the
image a little bit, and then we're finding
| | 02:35 | the edges in order to create
that traced, graphical look.
| | 02:38 | All right, now at this point if you
zoom in on the image, you're going to
| | 02:42 | notice that you are seeing a ton of noise now
inside the blocky letters, and I don't want that.
| | 02:47 | In other words, I don't want the
effect of the filter to appear inside the
| | 02:50 | letterforms, meaning that we need to
mask those filters. And I am going to do
| | 02:54 | that by loading the letters mask
that I already created in advance.
| | 02:58 | I'll just go ahead and Control+click, or
Command+click, on the layer mask thumbnail
| | 03:02 | for the outlines layer in order to
load up that selection outline, and then,
| | 03:06 | because we really want to protect the
letters, and open up the background, you go
| | 03:10 | up to the Select menu, and you choose
the Inverse command. And then finally, go
| | 03:15 | ahead and drop down to the word Smart
Filters below the Fotolia sand layer,
| | 03:19 | right-click on those words,
and choose Add Filter Mask.
| | 03:23 | That will go ahead and create a filter
mask in which the letters are black, and
| | 03:26 | background is white, which of course
protects the letterforms from the effects of
| | 03:30 | the filters, and applies Add Noise, and
Find Edges, exclusively to that background.
| | 03:35 | All right; I am going to zoom back out again.
| | 03:37 | Now, I was telling you up front,
that was the easy integration step.
| | 03:41 | The next step is a little trickier.
| | 03:42 | What I want to do is make the words sort of
appear like they are coming out of the sand.
| | 03:48 | So in other words, there should be a
little bit of disturbance around the
| | 03:51 | letterforms, which means that we have
to select the backs of letters, which
| | 03:55 | technically is not something you
can do. Because this is a depth map,
| | 03:59 | Photoshop doesn't have any idea what
the backs of the letters look like. And yet
| | 04:03 | still, as you might imagine, there is
a solution. And I'll show you how that
| | 04:07 | solution works in the next exercise.
| | Collapse this transcript |
| Masking the base of the letterforms| 00:00 | In this exercise, we are going to
further integrate the text with the
| | 00:03 | background by creating the singed
edges around the bases of the letter, and
| | 00:08 | therein lies our problem.
| | 00:10 | So far, we have successfully
created a mask that surrounds all visible
| | 00:14 | portions of the letters.
| | 00:15 | That is, the bases on one side, and the
tops of the letters on the other side.
| | 00:19 | However, if we employ that mask, then
we'll end up singeing along the top of the
| | 00:24 | H over here on the right side of the
image, as well as the top of the S, and the
| | 00:28 | top of the M, and the top of the R over
here on the left side of the image, and
| | 00:32 | that wouldn't make any visual sense whatsoever.
| | 00:35 | So somehow we need to see
the bases of the letters.
| | 00:38 | Problem is, Photoshop doesn't know
anything about the bases of the letters.
| | 00:42 | We don't have these letters that are
separated from their background. Rather,
| | 00:46 | we have a planar depth map in which the
background and the letters are fused together.
| | 00:52 | So there's no way to make the letters
go invisible, and we can't just turn
| | 00:55 | the whole darn scene around, because of
course, then we wouldn't have proper alignment.
| | 00:59 | So here's what you do instead.
| | 01:01 | I am going to switch to my image in
progress, which is called Find Edges
| | 01:04 | background.psd, and we need to create
yet another version of our 3D scene.
| | 01:10 | So go ahead and scroll up the Layers
panel, click on that outline layer, in my
| | 01:14 | case, the name is truncated a little bit,
and Shift-click on the contrast layer,
| | 01:18 | so that both of them are selected.
| | 01:20 | Right-click in an empty portion of
that contrast layer, choose the Duplicate
| | 01:24 | layer command, and then click OK in order to
create a duplicate of both of those layers.
| | 01:30 | Now, I am going to collapse the
original outline layer, just so I have a little
| | 01:33 | more room to work here inside my
Layers panel. And then I'm going to click on
| | 01:37 | the layer mask for the new layer, then
right-click on it, and choose Delete layer
| | 01:41 | mask to get rid of it.
| | 01:43 | Then I am going to rename this
layer backs, because that's the purpose
| | 01:47 | it's going to serve.
| | 01:48 | Then go up to the blend mode option
and switch back to Normal, so that we are
| | 01:51 | not seeing through to the
other layers in the stack.
| | 01:54 | Now, what we want to do is basically
get rid of the depth associated with the
| | 01:59 | letters so that they don't rise up
much from the background, and therefore we
| | 02:03 | can see the bases all the way around.
| | 02:06 | You may figure the thing to do is
to go ahead and switch back over to
| | 02:09 | that Object Scale tool, and then
we could reduce the Scale value to
| | 02:13 | something ludicrously low.
| | 02:15 | However, if you do that, you are going
to scale with respect to the vertical
| | 02:18 | center of the letters, and that means,
once again, you'll ruin the alignment.
| | 02:22 | So what we have to do instead is go
ahead and modify the depth map so that it
| | 02:28 | has very little contrast.
| | 02:30 | However, this depth map is the same one
that's being used for the outlines layer.
| | 02:34 | So if we edit it right now, we will mess
up the outlines layer, and that, of course
| | 02:39 | would be a big pain in the neck.
| | 02:40 | The reason these two are linked, and the
shadows layer is not linked, by the way,
| | 02:45 | is because these two layers
share the same render settings.
| | 02:49 | So we need to modify the render
settings in order to break the link, and you do
| | 02:52 | that by double-clicking on the thumbnail
for this 3D backs layer. Then make sure
| | 02:57 | Scene is selected at the top of the 3D panel.
| | 02:59 | Click on the Edit button next to the
word Custom, and let's go ahead and change
| | 03:03 | the Preset from Customer Render Settings,
to Wireframe, in order to reinstate the
| | 03:08 | original Wireframe settings.
| | 03:10 | And then I am going to take the Line
Width value back up to 2, and I'm going to
| | 03:14 | increase that Crease Threshold value back to 23.
| | 03:17 | Then I will turn on the check
box for Enable Face Rendering.
| | 03:20 | Let's leave it set to Solid, which is
the default setting, and, by the way,
| | 03:24 | ensures that we have different render
settings for these two different layers,
| | 03:28 | and then click on the OK button
in order to apply your changes.
| | 03:32 | Now, I am going to hide the 3D panel,
and make sure that your backs layer is
| | 03:36 | expanded so that you can see the
Planar Depth Map. Double-click on granite
| | 03:40 | Depth in order to open that crystallize effect
that we created way back in the first exercise.
| | 03:46 | And I want you to turn off the granite layer,
then click on the text layer to make it active.
| | 03:51 | Switch back to the Rectangular
Marquee tool, which of course you can get by
| | 03:55 | pressing the M key, and type in 05 on
your keyboard. So sequentially: 0, then 5,
| | 04:01 | and that will reduce the opacity value to 5%.
| | 04:03 | Now I will zoom in.
| | 04:06 | You might just barely be able to make
out that we have some very dark gray
| | 04:10 | letters set against an
absolutely black background.
| | 04:13 | If you can't see it, don't worry about
it, but what that means is that we have
| | 04:16 | very little difference in luminance
levels, and as a result there won't be much
| | 04:20 | depth associated with
this depth map. All right!
| | 04:23 | Now, go ahead and close the image.
| | 04:25 | Click the Yes button on the PC, or
the Save button on the Mac, in order to
| | 04:28 | update your changes.
| | 04:30 | Make sure that the thumbnail for your
outline layer down here doesn't look any
| | 04:33 | different, and if you want to confirm,
turn off the backs layer for a moment.
| | 04:36 | It should look the same as
it did just a moment ago.
| | 04:39 | Now turn the backs layer back on, and you
can see now that we've scalped away the
| | 04:43 | top edges along the right sides of the
H, and the S, and the left sides of the M,
| | 04:48 | and the R. And so we are looking at just
the bases, and nothing more. All right!
| | 04:53 | We do have a problem, however.
| | 04:55 | Notice right there -- and you want to
just kind of look around your image, and see
| | 04:58 | if you have any broken edges, because
those things are a pain in the neck to fix
| | 05:03 | later on down the road.
You want to fix them now.
| | 05:06 | I have a broken edge right here on my O,
so I will double-click on the thumbnail
| | 05:09 | for the 3D backs layer once again.
| | 05:11 | Make sure Scene is selected, click on
the Edit button, and you want to take that
| | 05:15 | Crease Threshold value down
until that edge reappears.
| | 05:19 | In my case, I had to take it
down to 20, then I will click OK.
| | 05:22 | Your results, of course, may vary.
| | 05:24 | Now, I'm going to go ahead and center
the zoom, once again, by pressing Control+0, or
| | 05:29 | Command+0 on the Mac. And I will once
again grab my Magic Wand tool; keyboard
| | 05:33 | shortcut W. Make sure Tolerance is
still set to 100, Anti-alias should be off;
| | 05:38 | very important. Contiguous should be on,
that's a default setting, but that's
| | 05:41 | very important as well, and
Sample All layers needs to be on.
| | 05:45 | Then click, let's say, between the A and the T
selects just about everything in the background.
| | 05:50 | You'll have to Shift-click over here on
the right-hand side in order to fill in
| | 05:54 | some details. Then Shift-click inside
the O, inside the A, inside the top of
| | 05:58 | the R, and inside the bottom area of the R
as well, in order to select the background.
| | 06:03 | We don't want the background selected
though, so go up to the Select menu and
| | 06:06 | choose Inverse in order to select the
letters, as well as these corner wedges.
| | 06:11 | We will fix them in a moment.
| | 06:12 | Switch to the Channels panel, and then
drop down to the Save Selection as Channel
| | 06:16 | icon here at the bottom of the panel.
| | 06:18 | Alt+click, or Option+click, on that
icon in order to bring up the New Channel
| | 06:22 | dialog box, and let's call this new
channel letterbacks, and click the OK button.
| | 06:27 | Then click on the letterbacks channel to
select it, press Control+D, or Command+D on
| | 06:32 | the Mac, to deselect the image.
| | 06:33 | I am going to zoom out a click here,
just so I can get to those wedges, and
| | 06:37 | I'll just select them using the Lasso tool,
just by dragging around these corners, like so.
| | 06:43 | So first, the upper left corner, then
the upper right corner, and then the
| | 06:46 | lower right corner.
| | 06:47 | Check your foreground and background colors.
| | 06:49 | In my case, the foreground color is
black, so I will press Alt+Backspace, or
| | 06:53 | Option+Delete, to fill those
wedges with black, like so.
| | 06:56 | I will switch back to my Rectangular
Marquee tool, press Control+D, or Command+D on
| | 07:00 | the Mac, in order to
deselect the image, and zoom on in.
| | 07:04 | And that's how you select the back
of letters in the displacement map.
| | 07:07 | In the next exercise, I will show you
how to put this mask to practical use.
| | Collapse this transcript |
| Tracing halos around the letter backs| 00:00 | In this exercise, we are going to take
that mask that we traced around the base
| | 00:04 | of the letterforms, and we are going to
use it to singe to the background so that
| | 00:08 | we have better integration
throughout our composition.
| | 00:11 | I have saved my progress as Letter
backs mask.psd, and I am looking at the
| | 00:15 | letterbacks channel here
inside the Channels panel.
| | 00:17 | What we want to do is
create a halo around the letters.
| | 00:21 | In order to achieve that effect, we have
got to expand these letters, and we have
| | 00:24 | got to give them a
little them of a blur as well.
| | 00:27 | For safety's sake, particularly since
this was a fairly difficult mask to create,
| | 00:31 | let's go ahead and create a copy of
this alpha channel by dragging it, and
| | 00:35 | dropping it onto the little page icon
at the bottom of the Channels panel, and
| | 00:40 | I'm going to rename this channel base halos.
| | 00:43 | The next step is to expand the white
areas, and you do that by going up to the
| | 00:48 | Filter menu, choosing Other, and
choosing Maximum, because Maximum grows the
| | 00:52 | maximum luminance level, which is white.
| | 00:55 | Now, you may get a warning, and by the way,
this is an incredibly erroneous warning.
| | 01:00 | Photoshop is getting confused; even
though we are working on a flat alpha channel
| | 01:03 | here inside the Channels panel,
Photoshop is thinking we're trying to do
| | 01:06 | something to the 3D object.
| | 01:08 | Just go ahead and click OK to ignore
that warning, and then crank the Radius
| | 01:13 | value up to 6 pixels, and click OK.
| | 01:16 | Next we need to blur this mask.
| | 01:18 | We can do that by going to the
Filter menu, choosing Blur, and then
| | 01:21 | choosing Gaussian Blur.
| | 01:23 | If you get the warning again, just
click OK again, and take that Radius value
| | 01:27 | again up to 6 pixels, and click OK
in order to accept that modification.
| | 01:32 | Now I want to load this mask as a
selection outline, and you do that by
| | 01:35 | pressing the Control key, or the
Command key on a Mac, and clicking on the
| | 01:39 | thumbnail for that channel.
| | 01:41 | Now switch back to the RGB image.
| | 01:43 | Switch to the Layers panel, and we are
looking at that backs layer that we created.
| | 01:47 | We don't really need that anymore.
| | 01:49 | So just go ahead and click on it,
Shift-click on the contrast layer to
| | 01:52 | select both of them.
| | 01:53 | There is no reason on earth
to keep these layers anymore.
| | 01:56 | Then, as opposed to deleting the layers
by pressing the Backspace or Delete key,
| | 02:00 | which we can't do right now,
because we have a selection active,
| | 02:03 | just drop down to the trashcan icon in
the bottom right corner of the panel, and
| | 02:08 | Alt+click, or Option+click on it.
| | 02:10 | By virtue of the fact that you have the Alt
or Option key down, you won't get a warning.
| | 02:14 | Now I want you to Alt+click or Option+
click in the eyeball in front of that
| | 02:18 | Fotolia sand layer in order
to hide all the other layers.
| | 02:22 | We need to copy the pixels on this
layer, but it's a Smart Object, so we can't
| | 02:26 | really get to the pixels.
| | 02:27 | So instead of choosing the standard
Copy command, go ahead and click on the
| | 02:30 | Fotolia sand layer to make it active,
and then go up to the Edit menu, and choose
| | 02:34 | Copy Merged, or press Control+Shift+
C; Command+Shift+C on the Mac.
| | 02:39 | Now we want to paste this
very image on a new layer.
| | 02:42 | So go up to the Edit menu, and choose
the Paste command, or press Control+V, or
| | 02:46 | Command+V on the Mac.
| | 02:47 | Now I want to create a kind of subtle
ripple in the sand so that the letters
| | 02:51 | kind of look like they're coming out
of it, and I'm going to do that using a
| | 02:54 | couple of Smart Filters.
| | 02:56 | So let's go ahead and rename this
layer singe, and then I will go up to the
| | 02:59 | Layers panel flyout menu, and choose
Convert to Smart Object. Or, if you loaded
| | 03:04 | dekeKeys, you can press
Control+Comma; Command+Comma on the Mac.
| | 03:07 | Then go up to the Filter menu, choose
Distort, and choose the Ripple command.
| | 03:12 | For this effect I decided a Size value of
Large worked best, combined with an amount of 50%.
| | 03:19 | Then click OK in order to apply that
effect, and you will see just a slight
| | 03:23 | rippling effect occurring around those edges.
| | 03:25 | Now the problem with ripple; if I zoom in
here, you can see it goes ahead and sort
| | 03:30 | of smears the pixels.
| | 03:31 | Let's unsmear those pixels by adding
some more noise, and you do that by going to
| | 03:36 | the Filter menu, choosing the Noise
command, and then choosing Add Noise.
| | 03:40 | And I am going to use those same values I
last applied, which are an Amount of 12.5%,
| | 03:45 | Distribution set to Gaussian, and the
Monochromatic check box turned on. Then go
| | 03:49 | ahead and click OK, and you can see not
only do we have the ripply edges, but we
| | 03:54 | also got our definition back.
| | 03:56 | I am going to right-click on that
empty filter mask, and choose Delete Filter
| | 03:59 | Mask to get rid of it, and then I'll
go to the blend mode menu and change it
| | 04:03 | from Normal, to Multiply, in order
to darken in those singed edges.
| | 04:08 | Now I am going to center my zoom once again,
by pressing Control+0, or Command+0 on the Mac.
| | 04:13 | Zoom in just a little bit, and I've
got to now manually turn on those other
| | 04:17 | layers, because I added a new one so
Alt+clicking, or Option+clicking on the
| | 04:20 | eyeballs isn't going to do any good.
| | 04:22 | I will just go ahead and drag
up the entire list, like so.
| | 04:26 | We don't want the tagline layer yet,
so I will go ahead and turn it off.
| | 04:30 | Here's the effect we are looking for.
| | 04:32 | So just to give you a sense of what
we've done, I will turn the singe layer off,
| | 04:36 | and you can see that originally we get
a pretty sort of static transition right
| | 04:40 | there between the letters in the background.
| | 04:42 | Then when I turn singe back on, it
looks like the letters in the background
| | 04:45 | are actually working together.
| | 04:47 | Now, the potential problem is I've
also managed to darken the letters, but
| | 04:51 | I actually like that.
| | 04:52 | I actually like that the letters look a
little darker; a little more moody as well.
| | 04:57 | However, we have taken the overall
brightness of the image down a little bit too far.
| | 05:02 | So what I would like you to do is go
ahead and click on that contrast layer; the
| | 05:06 | one directly below tagline. And then
press and hold the Alt or Option key, click
| | 05:10 | on the black/white icon, and choose
Levels command once again. Or, if you loaded
| | 05:14 | dekekeys you can press Control+Shift+L,
Command+Shift+L on the Mac, and I will call
| | 05:18 | this new layer brighten.
| | 05:20 | You do not want to turn
on the check box this time.
| | 05:22 | We are trying to affect all of
the layers inside the composition.
| | 05:26 | Go ahead and click OK, and we will start
by changing the white point value to 245,
| | 05:30 | so we are just taking it down 10. And
then I am going to click in that gamma
| | 05:34 | value, and press Shift+up arrow in order
to take it from 1.0, to 1.1, and that's it.
| | 05:40 | So just a small bit of
brightening to the overall image.
| | 05:43 | And now I will double-click to the
right of the Masks tab in order to
| | 05:47 | collapse that panel. All right, gang!
| | 05:48 | We are getting there.
| | 05:49 | The next step is to create even more
integration by weaving a circuit board
| | 05:54 | pattern into the sand.
| | Collapse this transcript |
| Creating a circuit board pattern| 00:00 | In this exercise, I will show you how
to establish these bright circuit board
| | 00:04 | lines in the background
of the final composition.
| | 00:07 | I've saved my progress so
far as Dark base halos.psd.
| | 00:11 | If you're working along with me,
I'd like you to also open an image
| | 00:14 | called Circuits.tif.
| | 00:16 | Now, this is another image from the
Fotolia Image Library, about which you can
| | 00:20 | learn more at fotolia.com/deke.
| | 00:22 | And this one's really great in my opinion,
because it's a seamlessly repeating pattern.
| | 00:27 | The left edge matches up with the right edge,
and the top and bottom edges match up as well.
| | 00:32 | To establish this image as a pattern,
go up to the Edit menu, and choose the
| | 00:36 | Define Pattern command, and then
let's just get rid of the extension.
| | 00:40 | So the new pattern name
is Circuits, and click OK.
| | 00:43 | Now, switch back to the image at hand.
| | 00:45 | I want to create these circuits
directly above the Fotolia sand layer.
| | 00:49 | So go ahead and click on
that layer to make it active.
| | 00:51 | Now, we are going to need to create a
new layer to hold the pattern, but no
| | 00:55 | matter what we do, we're going to
have to eventually rename that layer.
| | 00:59 | So we might as well create an unnamed
layer by clicking on the little page icon
| | 01:02 | at the bottom of the layer panel.
| | 01:04 | Then click on the fX icon, also at the
bottom of the panel, and choose Pattern Overlay.
| | 01:09 | Next, click on the Pattern Preview
here in the center of the dialog box, and
| | 01:13 | select that last pattern, which should
be called Circuits. And go ahead and
| | 01:17 | reduce the Scale value to 50%, so that we
get a fair amount of repetition going on.
| | 01:22 | Now, you might be somewhat amazed that
we're not seeing anything out here inside
| | 01:28 | the image window, and the reason is
that layer effects traditionally rely on
| | 01:33 | something inside the layer.
| | 01:35 | So they're either going to trace
the contents of the layer, or fill the
| | 01:39 | interior of the layer.
| | 01:40 | In our case, we don't have anything to
trace or fill, because there's no pixels
| | 01:44 | associated with this layer.
| | 01:46 | That turns out not to be a problem.
| | 01:47 | You can fill an empty layer. Here's how.
| | 01:50 | You click on Blending Options up here
at the top of the left-hand list and you
| | 01:54 | turn off this obscure check box:
Transparency Shapes layers, and that way you're
| | 01:59 | telling Photoshop to go ahead
and fill in the transparent areas.
| | 02:02 | Now, we are covering up a
bunch of details inside the image,
| | 02:05 | so switch back to Pattern Overlay, and
change its Blend Mode from Normal, to
| | 02:09 | Screen, and that way, we can
better see what we are doing. Click OK.
| | 02:14 | Now, the circuit lines look pretty
cool and they do repeat seamlessly.
| | 02:18 | However, they don't match the angle of the text.
| | 02:20 | The text is set in perspective, and the
circuitry is just sitting here straight on.
| | 02:24 | So we need to somehow match
the perspective of the scene.
| | 02:28 | First thing we need to do is separate
out this pattern overlay effect to an
| | 02:31 | independent layer, and you do that by
right-clicking on Pattern Overlay, and then
| | 02:35 | choose the Create layer command, and
that creates this new layer I was telling
| | 02:39 | you, you have to rename it.
| | 02:40 | And now is a good time, and what I
recommend you call it; go ahead, and rename
| | 02:44 | that new layer Smart Grid, because
eventually it's going to become a Smart
| | 02:48 | Object, and we are going to use it as a
sort of grid, and you'll see what I mean
| | 02:52 | shortly. And then grab that layer 1
right there, go ahead and click on it.
| | 02:56 | Just press the Backspace key, or the
Delete key on a Mac, to get rid of it.
| | 02:59 | Now we've got a pixel-based pattern layer.
| | 03:02 | We want to transform it, but we want to
do so as nondestructively as possible.
| | 03:07 | So with that layer selected, go to
the Layers panel flyout menu, and choose
| | 03:11 | Convert to Smart Object, or if you
loaded dekeKeys, press Control+Comma;
| | 03:15 | Command+Comma on the Mac.
| | 03:16 | Now, let's zoom out a few clicks
so that we have some room to work.
| | 03:19 | We are going to need to distort the
layer into perspective, and you do that by
| | 03:24 | going to the Edit menu and choosing the
Free Transform command, or you can press
| | 03:29 | Control+T, or Command+T on the Mac.
| | 03:30 | Now, to distort this layer, you press
and hold the Control key, or the Command key
| | 03:34 | on the Mac, and you drag
the corner handles around.
| | 03:38 | And I played around for a while to
get these settings exactly right,
| | 03:41 | but here is the distortion I came up with.
| | 03:43 | It looks to me like it pretty well
matches the angle of the text, and I can zoom
| | 03:47 | in a little bit just to check my work.
| | 03:50 | So I am trying to make sure that the
right angles of the circuit lines match the
| | 03:54 | base of the letters, and the
vertical sides of the letters as well.
| | 03:58 | And so, as I say, it looks pretty good to me.
| | 04:00 | I might go ahead and tuck in this
line a little bit, which means I would
| | 04:05 | Control+Drag, or Command+Drag, this upper-
right corner just ever so slightly.
| | 04:09 | Once you come up with something that
looks more or less right, then go ahead and
| | 04:13 | press the Enter key, or the Return key
on the Mac, in order to apply the effect.
| | 04:17 | Now, when I say, once you get something more
or less right, I don't mean to be too cavalier.
| | 04:21 | I am just saying, you can
always change your mind later.
| | 04:23 | Because we are working with a Smart
Object, you can go ahead, and transform
| | 04:27 | this layer as much as you want, in
which case, all you have to do is go to the
| | 04:30 | Edit menu, and choose Free Transform, or
once again press Control+T, or Command+T, and
| | 04:35 | you even gain access to
your original bounding box,
| | 04:38 | so you have a sense of what's
going on with the transformation.
| | 04:41 | Anyway, I am pretty happy with mine.
| | 04:43 | So I will press the Escape key in order
to escape out of the Free Transform mode.
| | 04:46 | All right!
| | 04:47 | So things are matching up pretty well,
but those circuit board lines are so
| | 04:52 | garish at this point.
| | 04:53 | I want them to be filled with the soft
glows, and I want the lines to transition
| | 04:58 | in and out of transparency.
| | 05:00 | I'll show you how to achieve both of
these effects entirely nondestructively
| | 05:05 | in the next exercise.
| | Collapse this transcript |
| Making a complex pattern glow| 00:00 | What we want is these softly glowing
circuit board lines traversing through the
| | 00:04 | sand. What we have are these garish white lines.
| | 00:08 | So how do we transition
from one extreme to the other?
| | 00:11 | Well, if you take a look at the final
version of the composition, you'll notice
| | 00:15 | a layer called circuits, and it contains
an Inner Glow effect which makes sense,
| | 00:19 | because we're tracing the interior
of these lines using an Inner Glow.
| | 00:23 | So it seems like a no-brainer.
| | 00:25 | Here is the problem.
| | 00:26 | If I switch over to our image in
progress, we've got this Smart Object, and it
| | 00:31 | looks like it contains white lines
surrounded by transparency, but in fact, if
| | 00:35 | we change the screen mode back to
Normal, which I'd like you to do if you're
| | 00:38 | working along with me, you'll
see that the background is black.
| | 00:42 | And so there is nothing for the
Inner Glow effect to trace, currently.
| | 00:45 | What we need to do is select the white
lines, and get rid of the black background,
| | 00:50 | and here is how that works.
| | 00:51 | Go ahead and Alt+Click, or Option+Click,
on the eye in front of the Smart Grid
| | 00:55 | layer to turn off all the
other layers in the composition.
| | 00:59 | Then switch over to the Channels panel
and go ahead and lift this image as a
| | 01:03 | selection by Control+clicking,
or Command+clicking, on RGB.
| | 01:08 | Now we've selected the white lines,
deselected the black background, switch
| | 01:12 | back to the Layers panel, go ahead
and Alt+click, or Option+click, on that
| | 01:16 | eyeball again to bring back all the
other layers, then just click on the
| | 01:21 | eyeball to turn it off.
| | 01:23 | Now let's create a new layer by
pressing Control+Shift+N, or Command+Shift+N on a
| | 01:27 | Mac, and I'll go ahead and call this
new layer circuits, and then click OK.
| | 01:32 | Now, assuming your background color is
white, you can fill the selected pixels
| | 01:36 | with white by pressing Control+Backspace,
or Command+Delete on the Mac, and then
| | 01:40 | press Control+D, or Command+D on the
Mac, in order to deselect the image.
| | 01:45 | And now we have white lines
surrounded by transparency.
| | 01:48 | Assuming that one of your selection
tools is active, go ahead and press Shift+1,
| | 01:53 | which will take the Fill Opacity value
down to 10%, so that we have this barely
| | 01:57 | visible circuit board lines that we're now
going to turn around, and fill with an Inner Glow.
| | 02:02 | Drop down to the fX icon at the bottom
of the panel, choose Inner Glow, and then
| | 02:07 | inside the Layer Style dialog box, go
ahead and click on that yellow color
| | 02:11 | swatch, let's change the hue value to
35 degrees; that's the hue we've been using
| | 02:16 | consistently throughout this project.
And you can leave the saturation value set
| | 02:20 | to 25, and a brightness value of
100% is fine as well. Click OK.
| | 02:25 | Now crank the Opacity value up to 100%,
and let's increase the brightness of the
| | 02:30 | Blend Mode by switching from Screen, to
Linear Dodge, and we end up with these
| | 02:34 | very bright tracings.
| | 02:36 | However, I want the bright effect to
be located on the inside of the circuit
| | 02:40 | board lines, so I'm going to switch the
Source from Edge, to Center. And then I'm
| | 02:45 | going to take the Size value up, which
ironically actually decreases the size of
| | 02:50 | the glow, because we're squishing
the glow inward toward the center.
| | 02:54 | And then finally, to avoid rounding
off the corners, change the Technique
| | 02:58 | from Softer, to Precise.
| | 03:00 | All right, now go ahead and click OK.
And I want to protect the top left and
| | 03:03 | bottom right corners of the
image with the layer mask.
| | 03:06 | So I'll drop down to the bottom of the
Layers panel, and click on the Add layer mask icon.
| | 03:11 | Then go ahead and get the Gradient tool,
which can also get by pressing the G key.
| | 03:14 | Just to make absolute sure that we're
on the same page, press the D and X keys
| | 03:21 | in order to ensure that your
foreground and background colors are black and
| | 03:24 | white, respectively.
| | 03:25 | Then go up to this little gradient
icon in the options bar; right-click on it,
| | 03:29 | and choose Reset tool.
| | 03:31 | That way you'll reset all the
defaults, which is what you need.
| | 03:33 | All right, I want you to drag from about
here, above the M, down to about the top
| | 03:39 | of the O in order to begin the layer
mask, and that will fade away our effect
| | 03:44 | pretty significantly.
| | 03:45 | Now I want you to go back up to the
options bar, click the down pointing
| | 03:48 | arrow head next to the gradient bar, and
select the second gradient in, which is
| | 03:53 | Foreground to Transparent. And then drag
from the bottom of the K up to about the
| | 03:58 | base of the T, like so.
| | 04:00 | And notice I'm cutting the angle across
the stem of the K. In other words, I'm
| | 04:03 | cutting a little bit over to the
left in order to create this effect.
| | 04:07 | Now, you might figure I've gone way too
far; you can't see the glowing lines at all.
| | 04:11 | Well, that's because Photoshop is
attempting to trace the inner glow around the
| | 04:15 | layer mask, as well as the
layer; we don't want that.
| | 04:18 | So to set Photoshop right, go ahead and
double-click on the thumbnail for this
| | 04:21 | layer to bring up the Layer Style
dialog box once again, and turn on the check
| | 04:25 | box that says Layer Mask Hides Effects.
| | 04:28 | And that tells Photoshop to stop
trying to trace the layer mask with an Inner
| | 04:32 | Glow, and just use the layer mask
to hide the edges of that glow.
| | 04:36 | All right, so now click
OK to accept the results.
| | 04:39 | All right, so that takes care of the
circuit board. The only thing left is
| | 04:43 | to add the text to the top left
corner, and we will do that in the next and
| | 04:47 | final exercise.
| | Collapse this transcript |
| Adding bright 2D shadow type| 00:00 | In this exercise, we are going to finish
off the composition by adding a layer of type.
| | 00:05 | I have saved my progress as
Glowing sand circuits.psd.
| | 00:08 | I am going to scroll up to
the top of the Layers panel.
| | 00:11 | You can see I have a text
layer called tagline (for later).
| | 00:13 | Go ahead and turn the layer on, and
might as well rename the layer as well,
| | 00:17 | because after all, later is now.
| | 00:19 | And now, we are really just going to dress
up this layer using a couple of layer effects.
| | 00:23 | So drop down to the fX icon at the
bottom of the panel and choose Drop Shadow.
| | 00:28 | And I am going to start things
off by giving the shadow some color.
| | 00:31 | So I will click on the black swatch,
dial in at same hue value we have been
| | 00:34 | using throughout the chapter: 35 degrees.
| | 00:37 | And then I am going to take the
saturation value up to 100%, and dial in a
| | 00:41 | brightness value of 35%.
| | 00:43 | Now click OK, and let's go ahead and
increase the intensity of the Blend Mode by
| | 00:48 | taking it from Multiply, to Linear Burn.
| | 00:50 | Now, notice that the shadow is going
down and to the right, whereas the shadow of
| | 00:55 | the big, blocky letters is
going down into the left.
| | 00:58 | So we need to change that Angle value, and I
ended up coming up with an angle of 85 degrees.
| | 01:02 | Next, I am going to take the Distance
value down to 2 pixels; I will take the
| | 01:07 | Size value down to 2 pixels as well.
| | 01:10 | Then I am going to increase that
Spread value to 50%. All right!
| | 01:12 | Now let's color the text;
| | 01:15 | we will do so by clicking on Color
Overlay. Click in the color swatch, and dial
| | 01:19 | in, once again, a hue value of
35 degrees; I am so predictable.
| | 01:23 | Then we'll take the saturation value down to
50%, a brightness value of 100% is just fine.
| | 01:28 | Go ahead and click OK to accept that
change, and then change the Blend Mode
| | 01:32 | from Normal, to Color.
| | 01:34 | Now, that appears to get rid of our
effect entirely, because after all, you
| | 01:39 | can't colorize white.
| | 01:40 | But what you can do is colorize the
background if you get some of that white out of there.
| | 01:44 | So I am going to click on Blending
Options in the left-hand list, and then I am
| | 01:48 | going to take that Fill Opacity down to 50%.
| | 01:51 | And that drops out 50% of the white,
but it leaves 100% of both my Drop Shadow,
| | 01:56 | and Color Overlay Effects.
| | 01:58 | All right, now I'll click OK in
order to create the final effect.
| | 02:02 | And you know, now that I look at it,
I think my text could be a little
| | 02:05 | more opaque than that;
| | 02:06 | I want to bring back some of the brightness.
| | 02:08 | And the great thing about that Fill
Opacity value is that it's also available
| | 02:11 | outside of the Layer Style
dialog box, here in the Layers panel.
| | 02:15 | And as long as I have a selection tool
active, I can access it by pressing Shift
| | 02:19 | with one or more number keys.
| | 02:20 | I am going to press Shift+66.
| | 02:22 | So press the 6 key twice in a row while
you have the Shift key down, and you will
| | 02:26 | change the fill value to 66%, and brighten
up those letters, as you see here. All right!
| | 02:32 | I am going to go ahead and fill the
screen with the image, and zoom in.
| | 02:35 | Scroll up a little, as well as little
bit to left. And that is it, folks: the
| | 02:39 | final comic book style granite letters
created, not using Repousse, but rather
| | 02:44 | is a line traced depth map,
here inside Photoshop Extended.
| | Collapse this transcript |
|
|
7. Carving Recessed Type into a TreePrepping ACR and Illustrator objects| 00:00 | In his final chapter, I am going to
show you how to create the effect of
| | 00:03 | text carved into a tree.
| | 00:05 | And it's another Repousse trick, but
instead of extruding the text outward, we are
| | 00:10 | creating the appearance of
extruding the text into a photograph.
| | 00:13 | Now, I have created a few layer comps
in advanced, just to give you a sense
| | 00:17 | of where we are going.
| | 00:18 | We will start off with this treated
background photograph, and then we will add
| | 00:22 | the carved letters, and these are
created using a combination of 3D in Photoshop,
| | 00:27 | as well as blend modes, and Smart Filters,
layer effects; a lot of stuff going on.
| | 00:33 | And then finally; just because we
can, we will add some red dye to the
| | 00:36 | interiors of the hearts.
| | 00:38 | We are going to start things off
inside this photograph called Camera Raw
| | 00:42 | tree.psd, and I just want you to
have a sense of how I put together both
| | 00:46 | the background photograph, and
the letters inside the heart.
| | 00:49 | Now, this image seemed a little flat to me,
and I needed to enhance its contrast, so
| | 00:55 | it would better match the
contrast of the carved type.
| | 00:57 | So I introduced the image in the
Photoshop as a Camera Raw object.
| | 01:01 | If you're working along with me, you
can modify the photo in Camera Raw just
| | 01:05 | by double-clicking on the thumbnail for the
big tree layer, here inside the Layers panel.
| | 01:10 | Now that we are inside Camera Raw, I
drop down to the bottom right corner of the
| | 01:13 | basic panel, and I crank the Clarity
value all the way up to 100, and then I took
| | 01:18 | the Vibrance value you up to 60, and
that both enhanced the edge contrast, as well
| | 01:23 | as the saturation values inside the image.
| | 01:26 | I also took the Contrast value up
to 35, and just to settle some of the
| | 01:31 | highlights in the sky, I took
the Recovery value up to 85.
| | 01:34 | Now, the bark looks a little yellow to me,
| | 01:38 | and Camera Raw allows you to adjust
color selectively, by switching to the
| | 01:42 | fourth panel in, which his HSL grayscale.
Go ahead and click on the Hue tab to
| | 01:46 | make it active, and then take the
Oranges value down to -7, which scoots those
| | 01:52 | oranges slightly from yellow, to red.
| | 01:54 | Then I wanted to darken the blues in
the sky, so I clicked on the Luminance tab,
| | 01:59 | and I took the Blues value down to -50,
and that's all there is to the background
| | 02:03 | photograph. Go and click OK in
order to accept those changes.
| | 02:07 | Now, notice others in front of the tree,
there is a layer called heart. It's a shape
| | 02:11 | layer that I actually created
inside of Illustrator, because after all,
| | 02:14 | Illustrator is much better at
handling vectors than Photoshop is.
| | 02:18 | Now, you don't need to own Illustrator in
order to pull off this effect, because I
| | 02:21 | have already created the shape layer for you.
| | 02:23 | But let me show those of you who do
have Illustrator how I brought the shape
| | 02:27 | layer in, in the first place.
| | 02:29 | I am going to go ahead and turn that
heart layer off, and then I'll switch to
| | 02:32 | Illustrator, which I have
running in the background.
| | 02:35 | I have open a file called Heart & text.ai,
again, found inside the 07_car folder.
| | 02:40 | To bring these vector shapes into
Photoshop, I pressed Control+A, or Command+A on a Mac,
| | 02:45 | to select all the shapes. Then I went
up to the Edit menu, and choose the Copy
| | 02:49 | command, or you can press
Control+C, or Command+C on the Mac.
| | 02:53 | Then switch back to Photoshop, and go
up to the Edit menu, and choose the Paste
| | 02:58 | command, or press Control+V, or Command+V on the Mac.
| | 03:01 | Now here's the important step:
normally, when you bring an Illustrator file in
| | 03:05 | the Photoshop, you paste it as a
Smart Object. That's not going to work for
| | 03:09 | Repousse, however. Instead, we need to
bring these vectors in as a shape layer.
| | 03:14 | So go ahead and select Shape Layer, and click OK.
| | 03:16 | Now, as you can see, we end up with a
new shape layer inside the layer's panel.
| | 03:21 | However, the vectors are
little bit massive at this point.
| | 03:24 | So to scale them down, you go up to the
Edit menu and choose a Free Transform
| | 03:28 | command, or you can press Control+T or
Command+T on the Mac. And then I went up to
| | 03:33 | the options bar, and I clicked on the
Link icon between the W and H values to
| | 03:38 | scale the vectors proportionally, and I
reduced the Width value and to 50. And
| | 03:43 | then I pressed the Enter key a couple of
times here on the PC; press the Return
| | 03:46 | key a couple of times on the Mac.
| | 03:48 | And that's all there is to the base objects.
| | 03:51 | In the next exercise, we will
extrude the shape layer in Repousse.
| | Collapse this transcript |
| Reconciling multiple vector constraints| 00:00 | In this exercise, I will show you how
to extrude a text layer that contains
| | 00:04 | multiple constraints.
| | 00:05 | And you'll see what that means in just a moment.
| | 00:08 | I have saved my progress as Modified tree.psd.
| | 00:10 | I am going to go ahead and turn on my
shape layer, and click on it to make it active.
| | 00:14 | Now, as usual we are going to lose
the shape layer when we apply Repousse.
| | 00:17 | So let's go ahead and create a copy
to keep the original safe, by pressing
| | 00:22 | Control+J, or Command+J on the Mac.
Then I will turn off the original.
| | 00:26 | And now I will go upto the 3-D menu,
choose Repousse, and choose Layer Mask.
| | 00:30 | If you get the alert message, just
click the Yes button. And then, inside the
| | 00:35 | Repousse dialog box, you'll notice that
the interior of the heart turns light
| | 00:40 | gray, indicating that Repousse is not
aware that you want to make it a hole.
| | 00:44 | We also need to make holes inside the E,
the ampersand, and the O. So drop down to the
| | 00:49 | Type option and change it from Inactive, to Hole,
| | 00:51 | at which point Repousse will get mad at
you. It's going to say, you can't change this
| | 00:56 | constraint to a hole, because
it contains other constraints.
| | 01:00 | What in the world does that gobbledygook mean?
| | 01:02 | Well, here's what's going on: a
constraint, as you may recall from the
| | 01:05 | fundamentals course, is an interior
path outline, and so what we have is the
| | 01:11 | interior of the heart serving as one
constraint, and then we've got the word
| | 01:15 | me, for example, as another constraint,
and then the whole inside the e as yet
| | 01:19 | another constraint.
| | 01:20 | So we've got constraints, nested inside
constraints, nested inside other constraints.
| | 01:25 | Well normally, when we are working
with shape layers, or Illustrator path
| | 01:29 | outlines, or any of that kind of
stuff, that doesn't present a problem.
| | 01:32 | Repousse, on the other hand, cannot handle it.
| | 01:35 | So we click OK, and then just cancel
out of the dialog box, because there's
| | 01:39 | nothing to be done at this point.
What we need to do is separate the
| | 01:43 | letters from the heart.
| | 01:44 | So it turns out to be fortunate that I
have two copies of this shape lawyer. We
| | 01:48 | have got the top one selected.
| | 01:49 | I am going to go ahead and switch to my
black arrow tool, and then I will click
| | 01:53 | anywhere on the heart outline to select
it, and I will press the Backspace key, or
| | 01:56 | the Delete key on the Mac, to get rid
of it. And let's go ahead and rename this
| | 02:00 | layer letters, and then go ahead and turn
that layer off, and turn the heart layer on.
| | 02:06 | Click on the heart layer's vector mask
thumbnail to select it, so that you can
| | 02:10 | gain access to the vector paths.
| | 02:12 | And now, partially marquee around the
letters; don't select the heart. And
| | 02:16 | then press the Backspace key, or the Delete
key on the Mac, in order to get rid of them.
| | 02:20 | So we've got the heart outline on one
layer, and the letter outlines on another layer.
| | 02:25 | Now, to protect those shape layers,
let's select them both by clicking on one,
| | 02:29 | Shift-clicking on the other, then right-
click on an empty portion of one of the
| | 02:33 | layers, and choose Duplicate layers. And then
click OK to create copies of both of these shapes.
| | 02:39 | Then turn the originals off, and
click on heart to make it active.
| | 02:43 | All right; now we are ready to
approach Repousse in earnest. Go up to the 3D
| | 02:47 | menu, choose Repousse, and choose
Layer Mask. Click Yes if you see the alert
| | 02:52 | message, then once the dialog box
comes up on screen, change the type from
| | 02:57 | Inactive, to Hole, and the interior the
heart disappears, just like it ought to.
| | 03:02 | Next I want you to change the
Depth value to 0.02, so we only have a
| | 03:07 | slight amount of depth.
| | 03:09 | I want you to watch something here.
| | 03:11 | I am going to go up, and as
usual, change the Materials.
| | 03:14 | So I will click on All, and I'll select that
third sphere down: No Texture. And notice
| | 03:19 | what happens to the Depth value;
| | 03:20 | Repousse automatically sinks it down to
0.01. That is not a problem, by the way;
| | 03:27 | I just want you to notice that that's happening.
| | 03:29 | All right; go ahead and click OK in
order to create our first 3D object.
| | 03:33 | Now click on the letters layer to make it active;
the one here at the top of the Layers panel.
| | 03:37 | Go back to the 3-D menu, choose
Repousse, choose Layer Mask; if you see the
| | 03:41 | alert message, click yes.
| | 03:43 | Now we've got to change
quite a few constraints to Holes.
| | 03:46 | So drop down to this Type option, and
switch it from Inactive, to Hole. That will
| | 03:51 | open up the hole inside the O. Now
you have got to click in one of these
| | 03:54 | Constraint tools. I will go ahead and
grab the Rotate tool, and then click on
| | 03:58 | one of the internal paths, such as the
bottom path here inside the ampersand,
| | 04:02 | change it to a Hole. I will go ahead
and grab the constraint at the top of the
| | 04:05 | ampersand, change it to a Hole, and then finally
the one inside the E; change it to hole as well.
| | 04:12 | Now I would like you to change the
Depth value, this time to 0.03. The idea
| | 04:17 | is that I really want to match the
depth of the letters to the heart, but
| | 04:21 | because the letters are smaller
than the heart, we need a very slightly
| | 04:24 | higher depth value.
| | 04:25 | Then go to the All option under
the word Materials, and change all the
| | 04:29 | surfaces to No Texture.
| | 04:31 | Again, Repousse sees fit to
drop the Depth value down .01.
| | 04:35 | I have no idea why it does that,
but it doesn't affect a darn thing.
| | 04:40 | Then go ahead and click OK in
order to create the second 3D layer.
| | 04:45 | Now we need to combine them into a
single 3D scene by clicking on one,
| | 04:50 | Shift-clicking on the other, so both
of your 3D layers should be selected.
| | 04:54 | Then go up to the 3D menu and choose
Merge 3D layers in order to combine them
| | 04:59 | into a single 3D object.
| | 05:01 | All right, and finally, let's go ahead
and rename this layer heart & text, let's
| | 05:05 | say, just so that we can keep track of
the fact that all of those shapes are
| | 05:09 | contained inside that single layer.
| | 05:11 | All right; so we have managed to extrude
our type. In the next exercise, we will
| | 05:14 | rotate and position it into place
against the surface of the tree.
| | Collapse this transcript |
| Fixing the type onto the tree| 00:00 | In this exercise, we are going to
orient and position our camera so that
| | 00:04 | the text appears to lay against the tree,
and we'll also go ahead and light the scene.
| | 00:08 | I have saved my changes
as Combined 3D scene.psd.
| | 00:12 | Make sure that your 3D layer is
selected inside the Layers panel.
| | 00:15 | And then drop down to the Camera
Rotate tool. If necessary, select it from
| | 00:19 | the flyout menu. And then drag
downward inside the image window in order to
| | 00:24 | tilt that text back.
| | 00:25 | And then, I am going to switch over
to the 3D Widget, and drag upward on the
| | 00:29 | green arrow; that will go ahead and
sink that text down. And then I will drag
| | 00:33 | to the left on the Red Arrow to
move it over to the right a little bit.
| | 00:37 | I want to scoot that text
down a little bit more, as well.
| | 00:40 | Now as usual, I have some numerical
values for you, just so that you and I
| | 00:44 | get the same results.
| | 00:45 | Go to the Orientation values up here
in the options bar, and change the X value
| | 00:49 | to -38, and press the Tab key, and change
to Y value to -2, and press Tab again, and
| | 00:56 | change the Z value to 176.
| | 00:59 | Now switch over to the pan the 3D
Camera tool, once again in the options bar.
| | 01:03 | And for Position, we want an X value of
660, and a Y value of -1200, and finally
| | 01:11 | a Z value of -1800, which will go
ahead and move the heart and text forward.
| | 01:16 | All right; now let's apply some lights.
| | 01:18 | Go ahead and double-click on the
thumbnail for the 3D layer there in the
| | 01:21 | Layers panel, and then go to the 3D panel's
flyout menu, and choose Replace Lights Presets.
| | 01:27 | Navigate your way to the 07_carve
folder, and click on Love light.p3l, and click
| | 01:32 | the Load button, and that goes
ahead and loads a single light source.
| | 01:35 | I will twirl both of my meshes closed,
and you can see we have one infinite
| | 01:39 | light called sunlight.
| | 01:41 | I am going to switch back to Scene for
a moment, and click on the Global Ambient
| | 01:45 | color swatch, and then dial the
brightness value down to 5%, and click OK. We end
| | 01:51 | up with this grayish text
with these dark shadows.
| | 01:54 | Now, if you want to get a sense of what
this scene looks like so far, you can
| | 01:58 | change a Quality setting from
Interactive (Painting), to Ray Traced Draft, and then
| | 02:01 | Photoshop will go ahead and trace the shadows.
| | 02:03 | Now, you may very well ask, what
shadows are you talking about, Deke?
| | 02:07 | We are not casting any kind of shadows
at this point, because we haven't turned
| | 02:11 | on the ground plane shadow catcher.
| | 02:13 | And between you and me, the ground
plane isn't in the right location anyway.
| | 02:16 | Well here's the deal; we are not
trying to cast shadows onto the tree. That's
| | 02:20 | not our purpose at all.
| | 02:22 | What we are trying to do is use
this text to cut holes into the tree.
| | 02:26 | So, so far we don't have
the effect we are looking for.
| | 02:29 | How do you take extruded text, which is
obviously extruding outward, and make it
| | 02:34 | extrude inward instead?
| | 02:35 | Well, that's ultimately a function of
the materials, and I'll show you how that
| | 02:39 | works in the next exercise.
| | Collapse this transcript |
| Creating a sunken extrusion| 00:00 | In this exercise, we're going to
adjust the materials associated with our 3D
| | 00:04 | meshes so that the text appears to
extrude into the tree, instead of out.
| | 00:09 | I've saved my progress as Ugly gray
type.psd, because let's be honest, it is.
| | 00:14 | Go ahead and bring back the 3D panel by
double-clicking on the thumbnail for the
| | 00:18 | 3D layer, and then with scene selected,
return the Quality setting to Interactive
| | 00:23 | (Painting) so that we can go ahead
and get some work done without Photoshop
| | 00:26 | constantly ray tracing the scene.
| | 00:28 | Now, make sure that both the heart and
letters meshes are twirled open, and click
| | 00:32 | on the heart Front Inflation
Material to make it active.
| | 00:35 | This is the big problem.
| | 00:37 | We shouldn't see a Front Inflation
Material if the text is going in.
| | 00:41 | We should just see the back of the extrusion.
| | 00:43 | Now, in a perfect world, you could just
click the eyeball in front of the material
| | 00:46 | to turn it off, but those
dimmed eyeballs don't work.
| | 00:49 | So instead, you drop down to the Opacity
option, and change it to 0. And that will
| | 00:54 | go ahead and drop the face of the
extrusion away, so you can see the extruded
| | 00:58 | sides, and the back material.
| | 01:00 | Let's go ahead and do that
same thing for the letters.
| | 01:02 | So click on letters Front Inflation
Material, and change the Opacity to 0% as well.
| | 01:08 | Now we need to adjust the
materials for the visible surfaces.
| | 01:11 | Let's start with the heart Back
Inflation Material, which is going to be the rear
| | 01:15 | side of the heart shape.
| | 01:17 | What I'd like you to do is click on the
folder to the right of the word diffuse,
| | 01:20 | and choose Load Texture, then
navigate to the 07_carve folder, click on the
| | 01:25 | image called Exposed wood.jpg, and click
the Open button in order to load that
| | 01:29 | wood texture into place.
| | 01:31 | So we can easily apply that same
diffuse texture to the other surfaces.
| | 01:35 | Let's go ahead and save it out as a
material by clicking on that beige sphere, and
| | 01:39 | then click the right pointing
arrow head at the top of this subpanel, and
| | 01:42 | choose New Material, and let's go ahead and
call this guy Exposed wood, and then click OK.
| | 01:47 | Now you can click off the panel to hide it.
| | 01:51 | I want you to next click
on heart Extrusion Material.
| | 01:53 | Click on the sphere once again, scroll
down your list, and go ahead and select
| | 01:57 | that final sphere, the one you just saved,
and press the Enter key, or the Return
| | 02:01 | key on a Mac, to hide that subpanel.
| | 02:04 | Notice we're not really messing with
any of the other material attributes,
| | 02:07 | mostly because they're not all that
important, with the exception of Ambient.
| | 02:12 | Go ahead and click on the Ambient
swatch, and we're going to reduce the
| | 02:15 | brightness value to 65%, and click OK.
| | 02:18 | That way, the sides will be that much
darker, while the Back Inflation Materials
| | 02:23 | remain nice and bright.
| | 02:25 | Let's rerun those steps on the letter mesh.
| | 02:27 | Go ahead and scroll down the list
and click on the letters Back Inflation
| | 02:31 | Material, click on the Sphere, go ahead
and select that last sphere in the list,
| | 02:35 | and press the Enter key, or the Return
key on the Mac. And then click on letters
| | 02:39 | Extrusion Material, click on the
sphere again, go ahead and apply the Exposed
| | 02:43 | Wood to it, and then finally, click
on the Ambient swatch, and change the
| | 02:48 | brightness value to 65%, and click
OK in order to accept that setting.
| | 02:53 | Now let's render the scene
to see what we have here.
| | 02:55 | I will click on scene at the top of
the 3D list, and then change the Quality
| | 02:59 | setting to Ray Traced Draft.
| | 03:00 | I will let Photoshop do its thing for a
couple of rounds, and as it's working, I
| | 03:05 | am noticing that we don't have
the shadows I was anticipating.
| | 03:08 | The shadows aren't long enough, and
that's because the extruded edges aren't deep
| | 03:12 | enough, and that's because, even though
I was assuring you just in the previous
| | 03:16 | exercise that the fact that those Repousse
values were changing on us was not a
| | 03:21 | problem, it turns out it is a problem.
| | 03:24 | So go ahead and press the Escape key
in order to interrupt the ray tracing
| | 03:28 | process, and click on the heart mesh in
order to select it. And then go ahead and
| | 03:32 | click on that little R on the left
side of the panel in order to bring up
| | 03:36 | Repousse, and sure enough the
Depth value has dropped again.
| | 03:40 | So for the heart shape, we
originally entered 0.02, and then it dropped
| | 03:46 | on the fly down to 0.01, and then Photoshop
decided it should just get rid of it entirely.
| | 03:53 | Now this, I have to say, is extremely irritating;
| | 03:57 | I don't know if you hear
that in my voice, or not.
| | 03:59 | This should not be happening, Adobe! But
in the meantime, what you have to do is
| | 04:04 | go ahead and reinstate that Depth value of 0.02.
| | 04:07 | Don't do anything else inside the
dialog box, because then it will go down
| | 04:11 | to 0.01 on its own.
| | 04:13 | Just go ahead and click OK, and that
way it'll drop down to 0.01, which is what
| | 04:19 | it was supposed to do in the first place.
| | 04:20 | So I will go ahead and click in order
to interrupt the ray tracing process, and
| | 04:23 | now I just want to demonstrate that to you.
| | 04:25 | The heart mesh is selected.
| | 04:26 | I will go ahead and click on the little
R to bring up the Repousse dialog box,
| | 04:30 | and sure enough, it's now
0.01. Don't do anything;
| | 04:33 | just click Cancel.
| | 04:35 | This is a reoccurring
problem with very tiny Depth values.
| | 04:40 | So it's just something to be aware of, in
case you run into these problems as well.
| | 04:44 | Believe you me, you're not alone.
| | 04:47 | Go ahead and click on the letters mesh
now; we need to reinstate its value. And
| | 04:50 | click on the little R to bring up Repousse.
| | 04:52 | Sure enough, Depth has dropped down to 0.
01, but you may recall, we entered 0.03.
| | 04:57 | So it decided to take a couple off,
just for good measure. And then once you've
| | 05:02 | entered that value, don't do anything
else, but click OK, in order to accept that
| | 05:08 | will be a value now of 0.02.
| | 05:11 | I know none of this makes any sense, but
this is the effect I'm looking for right there.
| | 05:15 | Now, you may well look at this effect
and say, you know Deke, I don't know about
| | 05:19 | you, but wood paneling is not what the
inside of a tree looks like, and we still
| | 05:25 | have some problems with the extrusion.
| | 05:27 | It's doesn't really appear to sink into the tree
the way that you said it would. Well, it will.
| | 05:31 | I assure you.
| | 05:32 | It's all going to turn out beautifully
as we begin to make additional changes,
| | 05:36 | starting in the next exercise.
| | Collapse this transcript |
| Combining blending modes and diffuse texture| 00:00 | In this exercise, we'll adjust the
blend mode and the diffuse texture to make
| | 00:04 | this perspective carve
text better match the tree.
| | 00:08 | I have saved my progress
as Strange wood effect.psd.
| | 00:11 | Now I was mentioning that when you take
the bark off a tree, it doesn't actually
| | 00:15 | look like wood paneling on the inside,
so you might think it was kind of an odd
| | 00:20 | choice to apply wood
paneling as the diffuse texture.
| | 00:23 | However, it's going to work out
beautifully as soon as we apply a certain blend
| | 00:27 | mode, and that blend mode is the following.
| | 00:29 | Make sure the 3D layer is selected in
Layers panel, and then change the blend
| | 00:33 | mode from Normal, to the ultimate
contrast mode: Linear Light, and that will go
| | 00:38 | ahead and burn that text into place.
| | 00:40 | Now believe it or not, we're getting very
close to the lighting effect that we need.
| | 00:44 | However, the colors are way too hot.
| | 00:46 | So we need to adjust that diffuse
texture, and you can do so by going over to
| | 00:51 | the Layers panel once again, and double-
clicking on Exposed wood under the word Diffuse.
| | 00:57 | That'll bring up this wood paneling image.
| | 00:59 | We need to leach out some of the
saturation, and cool down the colors as well.
| | 01:03 | So I'll go ahead and close the 3D
panel for the moment, and I'm going to
| | 01:06 | double-click on the Background item there
in Layers panel to convert it to a layer.
| | 01:10 | I'll just go ahead and
call it wood, and click OK.
| | 01:13 | Then click on the fX
icon, and choose Color Overlay.
| | 01:16 | What we are going to do is use a
complementary color to the existing wood color
| | 01:22 | in order to cool those colors down. But
I can't see the wood colors, because they
| | 01:27 | are covered up in red.
| | 01:28 | So let's go ahead and take that
Opacity value down to 0, so that we can see
| | 01:32 | through the Color Overlay effect. Then
click on the color swatch to bring up the
| | 01:36 | color picker dialog box. Move your
cursor out into the image window, and click
| | 01:41 | with the eyedropper in order to
lift a representative hue value.
| | 01:45 | All right, so I can see that the hue
values inside the wood are somewhere in the
| | 01:49 | neighborhood of 40 degrees.
| | 01:51 | Don't know if you know this or not,
but you can find the color complement for
| | 01:55 | any color in an image just by taking
its existing hue value and adding 180.
| | 02:00 | That's just going to rotate half way
around the circle. So 40 plus 180 is 220,
| | 02:07 | therefore a hue value of 220 is going
to give us the ideal complementary color.
| | 02:12 | All right, I am going to tab to the
saturation value and take it to 35%, and
| | 02:17 | then I'll take the brightness
value down to 50%, and click OK.
| | 02:21 | Now change the Blend Mode from Normal,
to Color, so that we can infuse the image
| | 02:25 | with our new nue value. And then take up
the Opacity value, and notice as you do,
| | 02:30 | you will start to cool down that wood.
| | 02:32 | I ultimately arrived at an Opacity
value of 66%, mostly because it meant I
| | 02:37 | could just tap the 6 key twice in a row.
| | 02:39 | There is nothing magical about it. Then
I'll click okay in order to accept that effect.
| | 02:44 | Now you want to go ahead and close the
image, click the Yes button here on the
| | 02:47 | PC, the Save button on the Mac, in order
to apply that effect, and you'll see that
| | 02:51 | we get some much better coloring.
| | 02:53 | All right, now we need
to reinvoke the ray trace.
| | 02:55 | So, go ahead and bring back up the 3D
panel, make sure that Scene is selected at
| | 02:59 | the top of the list, and switch the
Quality setting back the Interactive (Painting),
| | 03:03 | and then go ahead and return it to Ray
Traced Draft, and that's just going to go
| | 03:07 | ahead and give us the best results possible.
| | 03:09 | Now what I'd like you to do is go
ahead and run the entire ray trace
| | 03:13 | process, because this will be the one and
only time that we need to ray trace this effect.
| | 03:19 | It might seem a little absurd to you at
this point, because we can, after all, see
| | 03:24 | those forward edges of the extrusion,
which you would not really see if you'd
| | 03:29 | carved the text into a tree.
| | 03:31 | Also worth noting is that the text
still doesn't look very good. It looks
| | 03:35 | awfully artificial, it doesn't look
like it belongs in this environment, it's
| | 03:38 | not rounded around the contours
of the tree, so what gives there?
| | 03:42 | Well, all of that stuff is
2D work that we will do later.
| | 03:46 | All of the 3D work, once
again, believe it or not, is done.
| | 03:50 | So I am going to go ahead and let the
ray tracing run in the background, and I
| | 03:54 | will then rejoin you with my fully
rendered text in the next exercise.
| | Collapse this transcript |
| Bending 3D text as a Smart Object| 00:00 | In this exercise, I'll show you how to
bend the text around the tree, and then
| | 00:04 | we'll adjust a few advanced blending
options so that the text and tree better
| | 00:08 | interact with each other.
| | 00:10 | I've saved my progress as
Initial pseudo carving.psd.
| | 00:14 | Now, Photoshop doesn't have a 3D
option, per se, that allows you to wrap
| | 00:18 | text around a surface. Instead, you have to
use a 2D command; specifically Free Transform.
| | 00:24 | So make sure the 3D layer is selected
there in the Layers panel, and then go up
| | 00:28 | to the Edit menu, and choose
the Free Transform command.
| | 00:31 | The problem is, free transform and
3D are not compatible with each other.
| | 00:36 | So Photoshop requires you to put
the 3D layer inside of a Smart Object.
| | 00:41 | Normally, you would just say convert, and
move along. In our case, however, you don't
| | 00:45 | want to do that, because we have
assigned a blend mode to the active layer. And
| | 00:49 | if you put a single layer that has a
blend mode assigned to it inside of a Smart
| | 00:53 | Object, then you're wasting the blend mode.
It's not going to do any good, because
| | 00:56 | it's not going to travel outside
of that Smart Object container.
| | 01:00 | So go ahead and click Cancel for now,
and reinstate the blend mode to Normal by
| | 01:04 | pressing Shift+Alt+N, or Shift+Option+
N on the Mac. Or, of course, you can just
| | 01:08 | select the Normal mode from
the blend mode pop-up menu.
| | 01:11 | Then go back to the Edit
menu and choose Free Transform.
| | 01:14 | Photoshop will give you the same alert
message, this time go ahead and click
| | 01:18 | the Convert button, and once the
free transform controls appear up in the
| | 01:22 | options bar, then I want you to click on the
Warp icon over here in the far right-hand side.
| | 01:27 | Next go to the Warp pop-up menu and
choose Arc. Now, that's going to give us way
| | 01:32 | more of an arc than we need.
| | 01:33 | So change the Bend value to a mere 7%
Then go ahead and click on the Warp
| | 01:38 | icon again to escape the Warp mode, while
still remaining inside the Free Transform mode.
| | 01:44 | I want you to enter a couple
of specific coordinate values.
| | 01:47 | Go ahead and change the X value to
690, and tab to the Y value, and change it
| | 01:52 | to 500 pixels. And press Enter or
Return a couple of times in order to
| | 01:57 | transform that type.
| | 01:58 | All right, now to blend the layer with
the background, we want to go ahead and
| | 02:01 | reinstate Linear Light, so click on
Normal, and choose Linear Light. Or, you can
| | 02:06 | use its obscure keyboard shortcut, which is
Shift+Alt+J, or Shift+Option+J on the Mac.
| | 02:11 | All right, next I'm going to press
the Escape key in order to deactivate
| | 02:15 | the blend mode here on the PC. And I
want to reduce the Opacity in my effect
| | 02:20 | a little, but Linear Light is one
of those wonderful blend modes that
| | 02:24 | responds differently to the Fill Opacity
value than it does to the standard Opacity value.
| | 02:29 | So I want you to press Shift+66 in
order to reduce the Fill value to 66%, which
| | 02:36 | gives us more of an organic interaction.
| | 02:38 | Now, I'm going to zoom in to my effect a
little bit here, and scroll down. Notice
| | 02:43 | that we have a pretty fakey effect
going right now, and what's disturbing me
| | 02:48 | most -- even more than this front edge to
the extrusion, which we'll take care of
| | 02:51 | later -- is that we have this kind of
ghosting effect going on in front of the
| | 02:56 | natural grooves of the bark. And so I
want to let those dark luminance
| | 02:59 | level show through, and I'll do that by
adjusting the advanced blend settings.
| | 03:04 | So go ahead and double-click on an
empty portion of the heart & text layer in
| | 03:08 | order to bring up the Layer Style
dialog box, and I'll go ahead and move this
| | 03:12 | guy over just a little bit so we
can see what we're doing on screen.
| | 03:15 | Drag the black triangle under the
Underlying Layer slider over to about 30, and
| | 03:20 | you will notice those dark shaded
grooves start to cut through the 3D type,
| | 03:25 | which is exactly what we're looking for,
for now anyway. And then go ahead and
| | 03:29 | press the Alt key, or the Option key on
the Mac, and drag the right side of that
| | 03:33 | black triangle until the value
after the slash changes to 45.
| | 03:37 | And that gives us just a little bit of
soft transition. We don't want too much,
| | 03:43 | because we do want some pretty rapid
transitions associated with this effect.
| | 03:47 | All right, next I'm going to drop out some of
the shadows associated with the active layer.
| | 03:52 | So go ahead and press the Alt key, or
the Option key on the Mac, once again, and
| | 03:56 | drag the right half of the black
triangle under the This Layer slider until the
| | 04:00 | value after the slash changes to 10.
| | 04:02 | So you should see 0/10 up above, and
30/45 down below in order to achieve
| | 04:10 | the effect you see on screen. Then
go ahead and click the OK button in
| | 04:14 | order to accept that effect.
| | 04:15 | All right, so things are coming right along.
| | 04:17 | I realize we don't have anything
approaching credibility at this point, but
| | 04:21 | we're going to get their over
the next couple of exercises.
| | Collapse this transcript |
| Enhancing carved type with Smart Filters| 00:00 | In this exercise, we are going to apply
a series of Smart Filters in order to
| | 00:04 | reduce the abruptness of this effect.
| | 00:07 | I've saved my modifications as
Arched carving.psd.
| | 00:10 | Now, I realize the biggest remaining
problem with this effect is that we can see
| | 00:14 | the forward edges of the extrusions.
| | 00:17 | However, that's going to have to
wait until we're ready to mask the text.
| | 00:21 | In the mean time, the shape of
this layer is just too perfect.
| | 00:24 | If we had really carved it out of a tree,
even if we had just the greatest tools
| | 00:29 | on earth, there would be some
ragged edges here and there.
| | 00:32 | So let's go ahead and roughen
things up using a few filters.
| | 00:36 | Make sure that Smart Object layer is selected.
| | 00:38 | Then go up to the Filter menu, choose
Noise, and choose the Add Noise command.
| | 00:42 | And I am going to add just a little noise.
| | 00:45 | I set the Amount value to 2%, make
sure Distribution is set to Gaussian, and
| | 00:49 | that the Monochromatic check box is
turned on, and go ahead and click OK in
| | 00:53 | order to accept that effect.
| | 00:55 | Now the effect just looks kind of ratty,
so let's go ahead and smooth things out
| | 00:59 | by going back to the Filter menu,
choosing Blur, and choosing Gaussian Blur.
| | 01:03 | And then set the Radius value to a mere 0.5.
| | 01:07 | That way the text won't appear overly sharp,
but it won't appear blurry either. Then click OK.
| | 01:13 | Notice, because we are working with the Smart
Object, that were piling on the Smart Filters.
| | 01:17 | If you want to save space in your Layers
panel, as I do, then right-click on that
| | 01:21 | white thumbnail, and choose Delete Filter Mask.
| | 01:23 | After all, we won't be using it.
| | 01:25 | The next filter we will apply is Note
Paper, which is a sketch filter that
| | 01:29 | relies on the foreground and background colors.
| | 01:31 | So tap the D key just to make sure
that your foreground and background colors
| | 01:35 | are black and white, as by default.
| | 01:38 | Then go up to the Filter menu, choose
Sketch, and choose the Note Paper command.
| | 01:42 | And I am going to change the settings
as follows: I am going to take the Image
| | 01:45 | Balance up to 25, and then I will
increase Graininess to 10, and I'll take the
| | 01:50 | Relief value up to 11.
| | 01:52 | Now, if you take a look at the preview,
you'll see that we don't have anything
| | 01:56 | even mildly representing what we might
be looking for in a tree carving effect,
| | 02:02 | but that's because we
need to apply a blend mode.
| | 02:04 | So go ahead and click OK in order to
accept that effect; it looks terrible of course.
| | 02:09 | Now I'll go over to the Layers panel,
and double-click on the slider icon to the
| | 02:12 | right of Note Paper, and change the blend
mode from Normal, to Multiply, and then click OK.
| | 02:19 | You can see our Note Paper is
effectively tracing the edges of our shadows, and
| | 02:24 | giving us a deeply grooved effect,
while at the same time bringing out some of
| | 02:28 | the luminance in those carved edges.
| | 02:30 | All right; finally, I want the edges of
this carving effect to wiggle back and
| | 02:34 | forth a little bit, as if they were carved
with a steady hand, but not a robotic one.
| | 02:40 | So go up to the Filter menu,
choose Distort, and then choose Ripple.
| | 02:44 | And I ended up setting the Size option
to Large, and I took the Amount value down
| | 02:48 | to a mere 15%, then click OK
to apply that final filter.
| | 02:53 | All right; so far so good.
| | 02:55 | In the next exercise, we are going to
burn in the effect a little bit using
| | 02:58 | some layer effects, and then finally we
will get rid of those forward extruded
| | 03:03 | edges with a layer mask.
| | Collapse this transcript |
| Masking away the forward extrusions| 00:00 | In this exercise, we are going to beef
up the edges using a couple of layer
| | 00:04 | effects, and then we will finally
get rid of those forward sides of the
| | 00:07 | extrusion using a layer mask.
| | 00:10 | I have saved my progress as Filtered edges.psd.
| | 00:13 | Go ahead and confirm that the top
layer is selected, then drop down to the fX
| | 00:16 | icon and choose, of all things, Drop Shadow.
| | 00:20 | Now, I know it might look like the
last thing we need right now is a drop
| | 00:24 | shadow to further separate this text
from the background, so that it doesn't
| | 00:28 | look like it's carved at all.
| | 00:30 | But while drop shadows are typically
used to set text off from other things,
| | 00:35 | they can also be useful for creating
burnt or decayed edges, and that's exactly
| | 00:40 | what we are going for.
| | 00:41 | So go ahead and click on the color
swatch in order to bring up a color picker
| | 00:44 | dialog box, and let's dial in the tree
color by changing the hue value to 30, the
| | 00:50 | saturation value to 100%, and
the brightness value to 15%,
| | 00:54 | and then click OK. The Blend Mode is fine set to
Multiply. Opacity setting of 75% as fine, as well.
| | 01:01 | This Angle Value is not what we are looking for,
| | 01:03 | so go ahead and change it to 30 degrees, like
so. And then -- here's where we get less of a
| | 01:08 | typical drop shadow effect -- take the
Distance value way down to just 2 pixels,
| | 01:14 | and then increase the Size
value to 10 pixels, like so.
| | 01:18 | And you can see that we get these kind
of burnt edges, which would indicate a
| | 01:22 | little bit of rot occurring around the
carving, but they don't come off as drop shadows.
| | 01:27 | Let's enhance that effect even more by
clicking on Inner Glow. Obviously, we're
| | 01:31 | not looking for a glow; we are
looking for a darkening effect.
| | 01:34 | So click on the yellow color swatch, and
let's dial in those same values: 30 for
| | 01:38 | hue, 100 for saturation, and 15 for
brightness, then go ahead and click OK.
| | 01:43 | Switch the Blend Mode from Screen, to the
ultimate darkening mode, which is Linear
| | 01:47 | Burn, and that will give us
a very burnt edges indeed.
| | 01:50 | The Opacity value is fine at 75%. Let's
go ahead and take the Size value down to
| | 01:55 | 3 pixels in order to achieve the
effect you see onscreen, then click OK.
| | 02:00 | All right, so that's pretty helpful,
but what we really need to do more than
| | 02:06 | anything on Earth at this point is get
rid of those forward extrusions, because
| | 02:11 | until those go away, it is not going to
look like the text is going into the tree.
| | 02:15 | Instead, it's going to look like
the text is somehow coming out.
| | 02:18 | So what we need to do is generate a layer mask.
| | 02:21 | Now, there is no way for us to
automatically distinguish these forward extrusions
| | 02:26 | from the extrusions that we need; from
the extrusions that recede into the tree.
| | 02:31 | Because, in so far as Photoshop is
concerned, they are all the same material,
| | 02:35 | so we are going to have to fake it. Now,
you may think what you have to do is get
| | 02:40 | out the Pen tool or something, and trace
around the shape. And if you wanted to do
| | 02:43 | absolutely the best job possible, I
suppose that would be the best approach.
| | 02:47 | But who wants to spend that much effort,
when the following technique is so darn easy?
| | 02:52 | What I want you to do is press a Control
key, or the Command key on the Mac, and click
| | 02:57 | on the thumbnail for the Smart Object
layer in order to load the transparency
| | 03:01 | mask as a selection outline.
| | 03:04 | Then go ahead and drop down to the
bottom of the Layers panel, and click on the
| | 03:07 | Add layer mask icon in order to
convert that selection to a layer mask.
| | 03:12 | Now frankly, so far, we haven't done
anything. We haven't made any modification
| | 03:16 | to the layer whatsoever, but we are about to.
| | 03:19 | Go ahead and click that chain icon
between the layer mask and the Smart Object
| | 03:23 | in order to unlink the layer mask, and
then I want you to press Control+Shift+up
| | 03:27 | arrow; that would be Command+Shift+up
arrow on the Mac. And just like that, it's
| | 03:33 | done. We just got rid of that forward
facing edge all the way around, both
| | 03:39 | inside and outside the heart, as well as
outside and inside the holes of letters.
| | 03:45 | But there it is. In this next exercise, we
will take this carving, and we will make
| | 03:49 | a couple of receding
duplicates higher up in the tree.
| | Collapse this transcript |
| Duplicating the carving up the tree| 00:00 | In this exercise, we're going to create
a couple of duplicates of this carving
| | 00:03 | farther up in the tree, and you'll see
that we continue to get credible effects,
| | 00:08 | even as we move the
carving to different locations.
| | 00:11 | I've saved my progress as Credible
carving.psd. I'm going to zoom out by
| | 00:15 | pressing Control+0, or Command+0 on the Mac, so
that we can see the top areas of the tree.
| | 00:20 | Now, this tree is declining like crazy
in this dramatic low angle shot, so we're
| | 00:24 | going to have to reduce the size of
the duplicate layer significantly, which
| | 00:29 | means that we need to bake the effect.
| | 00:31 | Now, let me explain what I'm talking about here.
| | 00:34 | Notice that we've got all these Smart
Filters that are piled on top of each
| | 00:37 | other, all of which rely on the
resolution of the image at hand.
| | 00:42 | So these effects will change
significantly if there are fewer pixels involved.
| | 00:47 | The same goes for our layer effects as well.
| | 00:49 | So as we reduce the size of the
carving, the size of the Smart Filters and
| | 00:54 | effects will stay the same, and
they'll look absolutely ridiculous.
| | 00:58 | So what we need to do is create a flat
version of this layer, and here's how it works.
| | 01:03 | I'm going to start things off by
collapsing the layer fffects and Smart Filters
| | 01:07 | by clicking on the triangle to
the far right side of the layer.
| | 01:10 | Now I'll make a duplicate by pressing
Control+J, or Command+J on the Mac. And for now,
| | 01:15 | just so we can tell what we're doing,
go ahead and turn off the original;
| | 01:18 | we'll bring it back later.
| | 01:19 | Now, the easiest way to bake this layer,
that is to flatten it out; get rid of
| | 01:25 | the fact it's a Smart Object, as well
as render out all of the layer effects,
| | 01:29 | the Smart Filters, and the layer mask, is to
combine this layer with an empty layer below.
| | 01:34 | So what I'd like you to do is drop down
to the little page icon at the bottom of
| | 01:39 | the Layers panel and Control+Alt+click on it.
| | 01:42 | That's Command+Option+click on the Mac.
And thanks to the fact that you press the Alt
| | 01:46 | or Option key, you bring up the New
Layer dialog box, so we can go ahead and
| | 01:49 | name this layer baked.
| | 01:51 | By virtue of the fact that you pressed
Control or Command, as soon as you click OK,
| | 01:55 | you'll create that new
layer below the existing layer.
| | 01:59 | So it's just a little keyboard trick that
can come in handy sometimes. All right!
| | 02:03 | Now go back to the layer
that you were working on.
| | 02:05 | The one thing that you don't want
to nail down at this point is all of
| | 02:10 | the blending settings.
| | 02:11 | So we need to go ahead and reinstate
the blend settings to their defaults.
| | 02:15 | One way to wipe out the blend mode
and the advanced blend settings is to
| | 02:19 | right-click on the fX icon right
there, and then choose Clear Layer Style.
| | 02:23 | However, if you do that, you'll also
lose the drop shadow and inner glow, and we
| | 02:27 | don't want that to happen.
| | 02:28 | So instead, go ahead and choose
Blending Options to bring up the Layer Style
| | 02:33 | dialog box, and then reset everything
manually by changing the Fill Opacity to 100%.
| | 02:39 | Go ahead and drag those black slider
triangles all the way to the left side of
| | 02:43 | both of those sliders, and then change
the Blend Mode from Linear Light, to Normal,
| | 02:47 | and click OK, and you'll end up
with this gray type. All right!
| | 02:51 | Now let's bake the layer, and you do
that by going up to the layer menu, and
| | 02:55 | choosing Merge Down. Or you can press
Control+E, or Command+E on the Mac, and that
| | 03:00 | will leave you with one flat
layer called baked. All right!
| | 03:04 | Now the next thing we want to do to
this layer is transform it; that is, we want
| | 03:07 | to scale it, rotate it, maybe
change how it bends as well.
| | 03:11 | And anytime you think you're going to be
performing a lot of transformations on a
| | 03:15 | layer, you want to convert it to a Smart Object.
| | 03:17 | So go up to the Layers panel flyout
menu and choose Convert to Smart Object, or
| | 03:22 | if you loaded dekeKeys, you can press Control+Comma;
| | 03:24 | Command+Comma on the Mac.
| | 03:26 | That may just seem like so much weird work.
| | 03:29 | The fact that it used to be a Smart
Object, then we flattened everything, and
| | 03:32 | now it's back to being a Smart Object.
But believe me, it's the best way to
| | 03:36 | achieve this effect.
| | 03:37 | Now you can go ahead and reinstate the
blend settings, by the way, starting with
| | 03:41 | changing the blend mode
from Normal, to Linear Light.
| | 03:44 | And then I'll press the Escape key so
that that blend mode option is no longer
| | 03:48 | active, and I'm going to press Shift+6
in order to reduce the Fill value to 60%.
| | 03:53 | Now, this version of the carving is
going to be much smaller and farther up the
| | 03:57 | tree, so I'm not going to
worry about those slider settings.
| | 04:00 | To put the carving where it belongs,
go up to the Edit menu, and choose Free
| | 04:03 | Transform, or press Control+T on the PC;
Command+T on the Mac. And then click on
| | 04:08 | the little Warp icon up here in the
options bar, and I want you to change the
| | 04:12 | Warp to Arc, so all those previous
transformation settings have been forgotten,
| | 04:16 | because we flattened the previous Smart Object.
| | 04:19 | Choose Arc, and then change the Bend
setting this time around to 10%, and click
| | 04:23 | the Warp icon again to return to the
traditional transform options. All right!
| | 04:28 | Now I'm going to have you dial in a
bunch of numerical settings, starting with
| | 04:32 | an X value of 743 pixels, and then
change the Y value to 317, then Tab over to
| | 04:39 | the W value, and change it to 38%. Tab
to the Height value and change it to 32%,
| | 04:45 | and then finally Tab to the
Angle value, and change it to 3 degrees.
| | 04:49 | Now obviously, this isn't how I
performed these modifications when I was first
| | 04:53 | playing around with the effect, but
entering the numbers is the best way to
| | 04:57 | ensure that you and I get
the same results. All right!
| | 04:59 | Now press the Enter key, or the Return
key on the Mac, a couple of times in order
| | 05:03 | to transform that layer. All right!
| | 05:04 | Now I'm going to turn on the original
layer, so that we can see the carving
| | 05:08 | down below. And with the baked layer
still selected, I want you to press Control+J,
| | 05:13 | or Command+J, to duplicate it, and we're going
to go ahead and send it higher up the tree.
| | 05:18 | So press Control+T, or Command+T on the
Mac, to reinvoke the free transform mode.
| | 05:22 | You will see your previous settings
ready and waiting for you, because after all,
| | 05:26 | this time we didn't go
through a rasterization process.
| | 05:30 | Again, we're going to enter some numbers here.
| | 05:32 | Change the X value to 721, press the
Tab key, change the Y value to 208, press
| | 05:38 | Tab, then change the W value to 21,
press Tab and change the H value to 14, and
| | 05:44 | then finally, press Tab and change
the Angle value to -6, and press Enter or
| | 05:49 | Return a couple of times in order
to transform that layer. All right!
| | 05:53 | Now as the carvings recede, they should
also diminish in focus, because after all,
| | 05:58 | the top of the photograph is out of focus.
| | 06:01 | So I'm going to go ahead and click on
the first baked layer, and then I'll go up
| | 06:05 | to the Filter menu and choose the Blur
command, and then choose Gaussian Blur, or
| | 06:09 | if you loaded dekeKeys, you've got a
shortcut of Shift+F7. And I'm going to enter
| | 06:13 | a Radius value of 0.5 pixels;
| | 06:16 | that's perfect, click OK.
| | 06:18 | Then click on the top baked layer and
press Control+F, or Command+F on the Mac, to
| | 06:22 | repeat the last filter. Because we're
working with the Smart Object, that brings
| | 06:26 | up the dialog box. Change the Radius
value to 1 pixel, and click OK. All right!
| | 06:31 | So we've got our three carvings going
up the tree, but you know what? That wood
| | 06:35 | inside of the carved area could probably
look a little better than it does now, and
| | 06:40 | I'll show you one way to achieve a
better effect in the next exercise.
| | Collapse this transcript |
| Masking the many bits of exposed wood| 00:00 | In this exercise, we're going to add a
layer that's going to help to reinforce
| | 00:03 | the effect of the exposed wood inside
the carving so that we can achieve a
| | 00:08 | more plausible effect.
| | 00:10 | I've saved my progress as Badly abused tree.psd.
| | 00:13 | If you're working along with me, also open
the image called Another wood texture.jpg.
| | 00:18 | Now, you may look at this and think, once
again Deke, this is not the way exposed
| | 00:23 | wood looks. This is what wood looks
like when it's been through a lumber mill.
| | 00:28 | That's okay; it's going to work out pretty well.
| | 00:30 | Now, what I'd like you to do is right-
click inside of this image, and choose
| | 00:34 | Duplicate layer, and then change the
document setting to Badly abused tree, or
| | 00:39 | whatever is the name of your file, and click OK.
| | 00:41 | All right, now you can go ahead and
close this file if you want to, and return
| | 00:45 | to the badly abused tree composition.
| | 00:47 | Notice we've got a new layer here
called Background, because I neglected to
| | 00:51 | name it a moment ago.
| | 00:52 | I'm going to go ahead and rename it
inner wood, and then I'll drag it down the
| | 00:56 | stack to below the original Smart Object
layer, so you should be able to see all
| | 01:01 | three carvings on top of the wood.
| | 01:03 | All right; now we have to mask this layer
inside of all of the carvings, and we have
| | 01:08 | got all the information we need to do
the masking, so it's very easy to pull this
| | 01:13 | off. The problem is that it
involves some wacky keyboard techniques.
| | 01:17 | So here's what you do: you press and
hold the Control key, or the Command key on
| | 01:21 | the Mac, and you click on the
thumbnail for this first layer.
| | 01:24 | I'm going to go ahead and widen my
Layers panel so that we can see that the name
| | 01:28 | of this layer is heart & text.
| | 01:30 | So I want you to Control+click, or Command+
click, on this Smart Object thumbnail itself.
| | 01:35 | That'll go ahead and load that selection up.
| | 01:36 | Now we've go to engage the layer mask
as well, because we've got to find the
| | 01:40 | intersection of the transparency mask
associated with the Smart Object layer, and
| | 01:45 | the layer mask, and you do that by
mashing your fist on the keyboard.
| | 01:49 | So you press Control+Shift+Alt on the PC,
or Command+Shift+Option on the Mac, and
| | 01:54 | click on the thumbnail for that layer mask.
| | 01:57 | Now we have selected just the
interior elements of this first carving.
| | 02:02 | Now we need to add the second and third
carvings, and you do that by pressing the
| | 02:06 | Control and Shift keys, or the Command and Shift
keys on the Mac. Do not press Alt or
| | 02:11 | Option. And then click on the thumbnail
for the first baked layer, and then keep
| | 02:16 | those keys down; Control+Shift, or
Command+Shift on the Mac, and click on the
| | 02:20 | thumbnail for the top baked layer.
| | 02:22 | All right. Once you see that all of
your carvings are selected, make sure that
| | 02:26 | Inner wood layer is still selected, and
then drop down to the Add layer mask icon
| | 02:30 | at the bottom of Layers panel, and
click on it. And that will go ahead and
| | 02:33 | magically mask this Inner wood
effect inside of the carvings.
| | 02:38 | All right; that produces a pretty
interesting effect, but it doesn't look very organic.
| | 02:43 | So let's go ahead and blend this layer
with the tree below it by changing the
| | 02:46 | blend mode from Normal, to Screen. At
least, that's the blend mode that seemed to
| | 02:51 | work best to my eye. It's
way too bright, of course.
| | 02:53 | So let's go ahead and darken the layer
up by dropping down to the fX icon, and
| | 02:58 | choosing Color Overlay.
| | 03:00 | So we've seen how the Color
Overlay command can colorize layers.
| | 03:03 | We have been doing that quite regularly,
but you can use it to darken a layer
| | 03:06 | as well. Here's how.
| | 03:08 | Go ahead and click on the color swatch,
and change the color to absolute black.
| | 03:12 | So 0, 0, 0 for the hue, saturation,
and brightness values. Click OK, and then
| | 03:17 | change the Blend Mode to Multiply.
| | 03:20 | Now, at this point you might think, all
right, you're doing a pretty good job of
| | 03:23 | darkening this layer, Deke. In fact, by
gum, it's turned entirely black. We will
| | 03:28 | solve that problem in just a moment.
| | 03:30 | Reduce the Opacity value, for now, to 50%,
and we end up getting this very drab effect.
| | 03:36 | Now click on Blending Options Custom,
here on the left-hand list, and turn on the
| | 03:41 | Blend Interior Effects as Group check
box, and that way we first multiply the
| | 03:46 | black into that layer, and then we
apply the screen mode to the overall effect.
| | 03:51 | All right; now click OK in
order to accept that modification.
| | 03:55 | All right, and just so you have a sense
of what we've accomplished here, I will
| | 03:59 | turn off the Inner wood layer. That's
what the carvings looked like before; that's
| | 04:03 | what they look like now.
| | 04:04 | So we have, once again, at least a
plausible imitation of what the wood might
| | 04:08 | look like behind that carved bark.
| | 04:10 | All right; so really we're done, but
then I thought, wouldn't it be cool if we
| | 04:15 | painted all the hearts red?
| | 04:16 | And that's exactly what we're
going to do in the next exercise.
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| Dyeing the inside of the hearts red| 00:00 | In this exercise, we're going to
colorize the interior of the hearts red, without
| | 00:04 | affecting the carvings themselves, which
is going to require us to mask each and
| | 00:09 | every one of these hearts. And it
turns out, the ideal solution is, once again,
| | 00:14 | believe it or not, the Magic Wand tool.
| | 00:16 | I've saved my progress as
Behold the inner wood.psd
| | 00:20 | Now, before we start, take a moment to
make sure the inner wood layer is selected
| | 00:24 | here inside the Layers panel.
| | 00:26 | Then I want you to press the Alt or
Option key, and click on that black/white
| | 00:30 | icon at the bottom of the
panel, and then choose Solid Color.
| | 00:33 | Let's go ahead and call this new
layer redness, and then click OK.
| | 00:38 | Inside the color picker dialog box,
I want you to enter these values:
| | 00:41 | change the hue value to 350 degrees, and then
change the saturation value to 50%, and the
| | 00:47 | brightness value to 50% as well,
and then click OK. All right!
| | 00:51 | Now let's blend this color, along with
the underlying image, by changing the
| | 00:55 | blend mode from Normal, to Overlay, and that
provides us with the dye effect that we're looking for.
| | 01:01 | Of course, it's far too pervasive;
| | 01:03 | we're seeing it inside and outside
the hearts. Now to mask these hearts,
| | 01:07 | I want you to go ahead and Control+click, or
Command+click, on the layer mask for the
| | 01:11 | inner wood layer, and that will go ahead
and select the interior of the carvings.
| | 01:16 | I actually want to mask away those areas,
| | 01:19 | and so I'm going to go ahead and press
the Alt key, or the Option key on a Mac,
| | 01:22 | and click on that Add layer mask icon
at the bottom of the Layers panel, and
| | 01:27 | that will create an inverted version
of that mask. And you can see, now we've
| | 01:31 | masked away the carvings, but we still have an
awful lot of red inside of the tree and the sky.
| | 01:36 | Let's get rid of that by Alt+clicking,
or Option+clicking, on the layer mask for
| | 01:41 | that new redness layer.
| | 01:42 | In that way, we can see the mask
independently of the rest of the image.
| | 01:45 | Now what we need to do is select
everything outside of the hearts, and turn it
| | 01:50 | black. And as I was indicating, this is
a perfect use for the Magic Wand tool.
| | 01:55 | Go ahead and select the Magic Wand,
either by clicking on it there in the toolbox,
| | 01:59 | or selecting it from the
Quick Selection tool flyout menu.
| | 02:02 | And notice that I have my last used
settings still intact, and these are the exact
| | 02:06 | settings I want to use.
| | 02:07 | So go ahead and change the Tolerance
setting to 100, turn Anti-alias off, you
| | 02:12 | definitely need Contiguous to be turned
on, and Sample All layers doesn't matter,
| | 02:17 | because we're working
inside of a flat layer mask.
| | 02:19 | Then go ahead and click inside the
white area outside the hearts, and that
| | 02:23 | selects that entire area
automatically. All right!
| | 02:26 | Now we still need to choke
the selection a little bit,
| | 02:28 | so I'm going to zoom in on
that top heart right there.
| | 02:31 | Then I'll go up to the Select menu,
choose Modify, and choose the Expand
| | 02:36 | command. Even though we want to choke in to the
hearts, we're actually expanding the selection.
| | 02:40 | So go ahead and choose that command, and
I recommend that you set the Expand By
| | 02:43 | value to 2 pixels, and click OK,
and that moves those edges inward.
| | 02:48 | Now in my case, my foreground color is
black, but if I press the D key, it's
| | 02:51 | going to be my background color.
| | 02:53 | So go ahead and press D, and then press
Control+Backspace, or Command+Delete on the
| | 02:57 | Mac, to fill the selection with black.
| | 03:00 | Press Control+D, or Command+D, to deselect
the image, then switch back to Marquee tool,
| | 03:06 | or whatever you want.
| | 03:07 | I'm going to press Control+0, or Command+0
and on the Mac, in order to center my zoom.
| | 03:11 | And I'll Alt+click, or Option+click, once
again, on that layer mask thumbnail there
| | 03:15 | in the Layers panel in order
to return to my full color image
| | 03:19 | I will press the F key a couple of
times in order to switch to the full screen
| | 03:22 | mode, and go ahead and zoom the image to
the 100% view size. And this, friends, is
| | 03:27 | the final version of the final
3D type effect in this course.
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ConclusionSee ya| 00:00 | How fun was that?
| | 00:02 | One crazy 3D type effect after another.
Perfect for logos, display type, and any
| | 00:08 | time that you need text with
depth. But it's all over now.
| | 00:12 | This movie marks the end of the final
course in my big, overarching 3D series.
| | 00:18 | I seriously didn't know if
you would make it this far.
| | 00:20 | I didn't know if I'd make it this far,
which is my way of saying, I'm awfully
| | 00:24 | proud of both of us.
| | 00:26 | Awesome work, take care, and
come back and see us real soon.
| | 00:30 | On behalf of lynda.com, this is
Deke McClelland saying that it's been my
| | 00:35 | pleasure working with you, and see ya!
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