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Constructing the ideal workspace

From: Photoshop CS5 Extended One-on-One: 3D Objects

Video: Constructing the ideal workspace

In this movie I will show you how I recommend you setup your panels inside of Photoshop and how you save that out as a custom workspace. Now we will be starting from the Essentials workspace. So if the word Essential is not already highlighted in the top right corner of the screen, go ahead and click on it. And you may even want to go over to this double arrow icon there and choose Reset Essentials; that way you will be starting from the same point as me, which is how you get to all the panels inside of Photoshop and choose actions; that will automatically drop the Actions panel into the proper place.

Constructing the ideal workspace

In this movie I will show you how I recommend you setup your panels inside of Photoshop and how you save that out as a custom workspace. Now we will be starting from the Essentials workspace. So if the word Essential is not already highlighted in the top right corner of the screen, go ahead and click on it. And you may even want to go over to this double arrow icon there and choose Reset Essentials; that way you will be starting from the same point as me, which is how you get to all the panels inside of Photoshop and choose actions; that will automatically drop the Actions panel into the proper place.

Now go up to the Window menu and choose Brush, or you can press the F5 key if you prefer, and that will drop those panels into the desired place as well. Now go up to the Window menu and choose Character, and that will drop those panels exactly where I want them to be, and then go up to the Window menu and choose layer Comps. That will bring up the layer Comps panel and the Notes panel. Now my guess is you are not going to need the Notes panel, so you can go ahead and drag that guy out and close him, like so. Next though, we do need the Presets panel and the Navigator, so go up to the Window menu and choose tool Presets, and notice that automatically opens the 3D panel as well, which we will obviously be using quite a bit inside of this series.

Finally, go up to the Window menu and choose Navigator. Now I happen to move these around a little bit, I don't really like the way that they are organized by default. So I grabbed Navigator and I drop it down into the layer Comps group, it's totally up to you if you decide to go this way. It is important that you get all these panels open though, so you have easy access to them, but exactly how they are organized is up to you. I am going to drag navigator to that point like so, and then I am going to go grab tool Presets, these little tools and I am going to drag them and drop them between layer Comps and Navigator, and with this effect and that separates the 3D panel from everybody else.

So it's in its own little container. And I just do this for screen real estate reasons, because I am working on this tiny screen. I switch the placement of the Adjustment and Mask panel with the Histogram and Info panel, and I am mentioning this and showing it to you just so that you know why my screen might look differently than yours. All right, so I am going to go ahead and grab this guy by this little top right there, that sort of scrubby top to the panel, I am going to go ahead and drag it and drop it just below Adjustments and Masks, like so, so that I get that horizontal blue line.

Because I don't want to combine it with a bunch of other panels and we end up getting this. Then I go ahead and collapse those panels, just by double-clicking that dark gray area there. Then I will grab Adjustments and Masks by its empty gray area, and I drag it to this position right there. So it's directly below the Actions panel and above Brushes. All right, having done that, that's all the panel adjustments that I need to make, now I am going to go up to this double arrow icon, click on it and choose New Workspace and I invite you to do the same thing if you are working along with me, and I am going to go ahead and call this One-on-One.

We don't need to save the keyboard shortcuts or menus as part of the workspace, just go ahead and click the Save button and you are done and you now have your own custom One-on-One space, and you still have access to the Essential space, if you end up wanting to go back to it. So if you click on Essentials and then click on a double arrow icon and choose Reset Essentials, you will end up back roughly where we started, then if I click on One-on-One again, then I will end up with the workspace I created just a moment ago, and that's how you go about constructing what I consider to be the best workspace when working inside Photoshop CS5 Extended.

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Image for Photoshop CS5 Extended One-on-One: 3D Objects
Photoshop CS5 Extended One-on-One: 3D Objects

77 video lessons · 10912 viewers

Deke McClelland
Author

 
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  1. 36m 23s
    1. Welcome
      1m 44s
    2. Making Photoshop your default image editor on a PC
      4m 2s
    3. Making Photoshop your default image editor on a Mac
      5m 53s
    4. Installing the dekeKeys keyboard shortcuts
      4m 10s
    5. Remapping Mac OS shortcuts
      4m 0s
    6. Establishing the best color settings
      3m 53s
    7. Constructing the ideal workspace
      3m 25s
    8. Adjusting the interface settings
      3m 6s
    9. Establishing the best preference settings
      6m 10s
  2. 42m 34s
    1. Flat 2D layers in 3D space
      1m 6s
    2. Making a 3D postcard
      4m 12s
    3. Combining extruded type with a postcard
      5m 7s
    4. Matching a postcard to a background image
      7m 52s
    5. Masking, blending, and lighting a scene
      4m 55s
    6. Editing type in a diffuse texture
      3m 56s
    7. Tying objects together with reflectivity
      3m 59s
    8. Adding defects with a bump map
      5m 30s
    9. Adding rust trails to metallic type
      5m 57s
  3. 40m 15s
    1. The challenge of the multi-mesh object
      1m 7s
    2. Introducing the 3D shape presets
      6m 41s
    3. Duplicating materials, camera, and position
      3m 26s
    4. Loading and editing diffuse textures
      6m 15s
    5. Creating texture-specific bump maps
      4m 56s
    6. Faking a 3D bevel with 2D layers
      3m 42s
    7. Creating a starburst effect with Repoussé
      3m 12s
    8. Making rays of light with a diffuse texture
      3m 47s
    9. Filtering a 3D object as a Smart Object
      3m 40s
    10. Blending a 3D cube with 2D effects
      3m 29s
  4. 1h 12m
    1. Bringing models into Photoshop
      55s
    2. Accessing 3D models and materials
      3m 4s
    3. Importing 3D models
      5m 16s
    4. Prepping 3D models for export
      3m 36s
    5. Exporting a model as a 3D shape preset
      4m 5s
    6. Creating a credible leather texture
      4m 19s
    7. Scaling and repeating a texture
      5m 33s
    8. Identifying and painting details in 3D
      7m 28s
    9. Fixing gaps in a custom diffuse texture
      5m 43s
    10. Working with UV overlays
      7m 27s
    11. Navigating inside a complex UV map
      9m 21s
    12. Reflecting a partial environment map
      3m 55s
    13. Filling in missing parts of an environment
      3m 50s
    14. Making and painting a multilayer bump map
      4m 40s
    15. Simulating depth of field with a 2D filter
      3m 28s
  5. 55m 26s
    1. White is height, black is back
      56s
    2. Introducing 3D depth maps
      6m 3s
    3. Cylindrical and spherical projections
      7m 40s
    4. The advantage of 16-bit depth maps
      6m 54s
    5. Creating a 3D object from a 16-bit gradient
      4m 49s
    6. Making a 3D object look huge and distant
      6m 54s
    7. Depth maps vs. displacement maps
      4m 26s
    8. Hand-painting and blurring a depth map
      3m 37s
    9. Coloring a scene with lights and texture
      4m 16s
    10. Creating rips and tears in a 3D surface
      7m 46s
    11. Singeing the holes with 2D effects
      2m 5s
  6. 49m 35s
    1. Science meets art
      1m 19s
    2. Making a 3D volume from DICOM layers
      6m 5s
    3. Render settings and transfer functions
      5m 6s
    4. Using 3D volumes as creative tools
      5m 32s
    5. Building one 3D object from another
      5m 5s
    6. Adding white peaks to hills
      3m 1s
    7. Creating synthetic rain
      4m 23s
    8. Rendering 3D motion trails
      5m 30s
    9. Matching independent objects in 3D space
      6m 57s
    10. Making ghostly type with layer effects
      3m 3s
    11. Boosting the highlights of a 3D composition
      3m 34s
  7. 1h 3m
    1. The baffling power of Repoussé
      1m 1s
    2. Repoussé and pixels vs. vector masks
      6m 22s
    3. Creating a 3D revolution
      6m 32s
    4. Making seamless textures and bump maps
      6m 14s
    5. Merging and reconciling different 3D objects
      6m 44s
    6. Assigning and adjusting depth of field
      4m 8s
    7. Extruding a long, bending object
      9m 55s
    8. Blending a photographic foreground
      5m 7s
    9. Creating a custom contoured bevel
      6m 27s
    10. Moving one object between two others
      6m 34s
    11. When in doubt, move what's easiest
      4m 39s
  8. 1m 3s
    1. Until next time
      1m 3s

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