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Constructing the ideal workspace

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

Video: Constructing the ideal workspace

In this movie I'll show you how I recommend you to set up your panels inside a Photoshop and how you save them out as a custom workspace. Now we'll be starting from the Essentials Workspace, so if the word Essentials 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 right there and choose Reset Essentials that way you'll be starting from the same point as me, which is how you get to all the panels inside a Photoshop and choose Actions and that will automatically drop the Actions panel into the proper place.

Constructing the ideal workspace

In this movie I'll show you how I recommend you to set up your panels inside a Photoshop and how you save them out as a custom workspace. Now we'll be starting from the Essentials Workspace, so if the word Essentials 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 right there and choose Reset Essentials that way you'll be starting from the same point as me, which is how you get to all the panels inside a Photoshop and choose Actions and 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'll drop those panels into the desire 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 and that will bring up the layer Comps panel and the Notes panel. Now my guess is you're 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 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 will obviously be using quite bit inside of the series and finally go to the Window menu and choose Navigator.

Now I happened to move these around a little bit. I don't really like the way that they're organized by default, so I grabbed Navigator and I dropped it down into the layer Comes group, it's totally up to you, if you decide to go this way it is important that you get always panels open though, so you have easy access to him, but exactly how they're organized is up to you. I'm going to drag Navigator at that point like so, and then I'm going to grab tool Presets, these little tools and I'm going to drag them and drop them between layer Comps and Navigator, and we end up 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'm mentioning this and showing it to you just so that you know why my screen might look differently than yours. All right so I'm going to go ahead and grab this guy by this little top right there that's sort of scrubby top to the panel, I'm 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 and collapse those panels just by double-clicking that dark gray area there, then I 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 adjustment I need to make, now 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're working along with me and I'm going to go ahead and call this one-on-one. We don't need to say the same keyboard shortcuts or menus as part of 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 the double arrow icon and choose Reset Essentials, you'll end up back roughly where we started, then if I click on one-on-one again than I'll end with workspace I created just a moment ago and that's how you go back constructing what I consider to be the best workspace when working inside Photoshop CS5 Extended.

Show transcript

This video is part of

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

90 video lessons · 11600 viewers

Deke McClelland
Author

 
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  1. 36m 15s
    1. Welcome to One-on-One
      1m 36s
    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. 1h 22m
    1. Understanding the disciplined approach to scenes
      58s
    2. Beginning an ambitious 3D scene
      6m 41s
    3. Staking your claim with the camera
      5m 51s
    4. Taking the disciplined approach
      7m 19s
    5. Building a complex Repoussé element
      7m 53s
    6. Taking control of Repoussé bevels
      5m 57s
    7. Mastering the spherical panorama
      5m 6s
    8. Opening up a spherical panorama
      3m 42s
    9. Using a diffuse texture as a layer effect
      7m 12s
    10. Embossing text with bump maps
      5m 42s
    11. Partnering bump maps with diffuse textures
      8m 12s
    12. Automating Repoussé with an action
      4m 57s
    13. Combining 3D layers with Merge Down
      8m 34s
    14. Nesting objects in regular increments
      4m 13s
  3. 37m 42s
    1. A scene's best supporting material
      40s
    2. Extruding and positioning glass
      6m 30s
    3. Introducing refraction
      7m 44s
    4. Adjusting a double refraction effect
      7m 45s
    5. Creating a reflective lens
      5m 16s
    6. Creating a "diffuse reflection"
      3m 56s
    7. Adding depth and highlights in 2D
      5m 51s
  4. 1h 53m
    1. Igniting the colors in your scene with light
      1m 35s
    2. Making sense of a single-mesh scene
      5m 43s
    3. Identifying and naming materials
      7m 36s
    4. Establishing a base camera and light
      6m 56s
    5. Creating and positioning point lights
      8m 31s
    6. Precisely positioning lights
      9m 40s
    7. Color, softness, and attenuation
      6m 1s
    8. Capturing a light with Gloss and Shine adjustments
      5m 9s
    9. Making a patterned, textured surface
      6m 48s
    10. Creating a highly polished hardwood floor
      9m 32s
    11. Using the Hotspot and Falloff options with a spotlight
      8m 3s
    12. Placing and pointing a spotlight
      8m 37s
    13. Aligning a light to the camera angle
      6m 34s
    14. Moving cameras and lights
      9m 11s
    15. Adding a 2D sky to a 3D window
      6m 44s
    16. Resolving ray tracing mistakes
      7m 19s
  5. 1h 45m
    1. Darkness conveys depth
      56s
    2. Shining light through a window
      7m 34s
    3. Using a 3D postcard as a light shield
      8m 1s
    4. Adjusting an infinite light source
      5m 41s
    5. Adding two new models to a scene
      8m 15s
    6. Looking through many objects in a scene
      7m 40s
    7. Changing shadows on a mesh-by-mesh basis
      4m 39s
    8. Adding a 3D postcard sky
      6m 52s
    9. Passing light through an opaque object
      3m 24s
    10. Diffuse texture vs. self-illumination
      5m 47s
    11. Designing a custom reflection map
      8m 48s
    12. Shielding the distant edge of a scene
      4m 54s
    13. Casting light through an opacity map
      9m 30s
    14. Employing an image-based light
      7m 5s
    15. Making wall art with a 3D postcard
      7m 41s
    16. Creating a Repoussé picture frame
      8m 56s
  6. 1h 6m
    1. Forget the Zoom and Hand tools
      52s
    2. Aligning the ground plane to a photograph
      6m 8s
    3. Creating the perfect straight-on view
      3m 26s
    4. Positioning a 3D scene as an object
      4m 26s
    5. Using an orthographic camera
      6m 34s
    6. Sinking a scene into the ground plane
      6m 27s
    7. Designing shiny surfaces
      7m 32s
    8. Making a seamless image-based light
      9m 49s
    9. Lighting a factory-new 3D car
      7m 42s
    10. Adding metallic paint and tire treads
      6m 36s
    11. Depth of field vs. field of view
      7m 21s
  7. 1h 4m
    1. A scene's most important ingredient
      1m 10s
    2. Importing independently editable meshes
      7m 21s
    3. Integrating a 3D scene into a photograph
      6m 11s
    4. Designing a content-aware diffuse texture
      8m 6s
    5. Creating a tapering horn in Repoussé
      5m 44s
    6. Using the camera to align meshes
      10m 56s
    7. Establishing symmetrical meshes
      5m 51s
    8. Employing a self-illuminated mesh
      8m 4s
    9. Creating a self-illumination map
      5m 38s
    10. Cleaning up jagged highlights
      5m 14s
  8. 23m 33s
    1. Crafting the final 3D product
      35s
    2. Photoshop's 3D rendering presets
      4m 49s
    3. Making line art without re-rendering
      2m 30s
    4. Working with the Face Style options
      6m 31s
    5. Working with the Edge and Vertex Style options
      4m 31s
    6. Rendering a stereoscopic 3D artwork
      4m 37s
  9. 1m 3s
    1. Until next time
      1m 3s

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