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Masking the extruded sides

From: Photoshop CS5 Extended One-on-One: 3D Type Effects

Video: Masking the extruded sides

In this exercise, I am going to show you how to generate the masks around the extruded edges for each one of these words: zap, bang, and pow, independently, so that we can ultimately create the effect of the letters coming through the smoke. Now, I'm looking at the final version of the composition. Go up to the Window menu, and choose the Layer Comps command, and notice here in the Layer Comps panel that I have created a couple of layer comps in advance. Click the right pointing arrow head in order to switch to the Type with smoke comp, which represents the final version of the composition.

Masking the extruded sides

In this exercise, I am going to show you how to generate the masks around the extruded edges for each one of these words: zap, bang, and pow, independently, so that we can ultimately create the effect of the letters coming through the smoke. Now, I'm looking at the final version of the composition. Go up to the Window menu, and choose the Layer Comps command, and notice here in the Layer Comps panel that I have created a couple of layer comps in advance. Click the right pointing arrow head in order to switch to the Type with smoke comp, which represents the final version of the composition.

Now, notice here in the Layers panel, there is a layer called smoke, and it includes a layer mask. Go ahead and Alt+Clic,k or Option+Click, on that layer mask, and then zoom in on the image. Now you will see that I have gone ahead and masked the letters, and the extruded sides, independently of each other. I mention this because we have these very thin, white outlines traced around each one of the letters. That's not necessarily ideal. Usually, I prefer seamless transitions. However, given the fact that this is a graphic image, not a continuous tone photograph, these edges aren't going to cause us any problems.

The good news is that we have these very precise contours around the areas of extrusion. Now, given the nature of these contours, the fact that we are seeing the smooth curves, punctuated every once in a while by a slight corner, you may figure the tool to use in order to trace them would be the Pen tool. Normally that would be the way to go, but when you're working with a 3D composition, there is no reason to resort to the Pen. You can mask every single surface in a 3D image automatically, and let me show you how that works.

I have saved my progress so far as Brighter letters.psd, found inside the 03_cables folder. If you are working along with me, make sure to save your progress right now, because we are going to need to tear this image apart in order to generate the masks. Meanwhile, you will also want to make sure that you have your Project masks.psd file open, so that you can add some more channels to it. All right. So I will switch back to the composition at hand. I am going to go ahead and turn off that letters layer, so that we are seeing the original darker version of the letters.

And I will scroll to the bottom of the stack, click on the Background layer, press the D key to make the foreground color black, and then press Alt+Backspace, or Option+Delete on the Mac, in order to make the background black. Now select the 3D layer, and double-click on its thumbnail in order to bring up the 3D panel. And with the Scene item selected at the top of the panel, go ahead and restore the quality to Interactive (Painting) so we can make some modifications without waiting for the ray trace. We need to make the image as dark as possible, so click on the Global Ambient Color swatch, and change the brightness value to 0, then click OK in order to apply that change.

Now I'll go ahead and scroll to the bottom of the 3D list, and turn off each one of the light sources, so that the image goes entirely black. All right, now it's time to work on the extrusions. I am going to click on the pow Extrusion Material, click on the Illumination swatch, change that brightness value to 100%, and click OK. All right. Let's go ahead and ray trace the scene so that we have less jagged outlines. Click on a Scene item, and then drop down the Quality, and change it to Ray Traced Draft. And a moment or two later, Photoshop should go ahead and generate the smooth outlines.

As usual, we are going to go ahead and speed up this process, of course. Now, if you find that you have to wait too long, you can go ahead and click to interrupt the process. After two or three passes, most of the smoothing process should be done. Now I'll go to the Channels panel. Press the Alt, or Option, key, grab any one of those channels, and drag and drop it onto the little page icon down there at the bottom of the panel. Switch the document, change the Document setting to Project masks.psd, and I am going to go ahead and call this new channel pow trail, and click OK. All right; now we are done with pow, so you can just go ahead and turn off the pow mesh, if you want to. And that's going to inspire Photoshop to re-render the scene, which is fairly hilarious, given that it's not getting anything done. It's just a bunch of black pixels, but I guess they're subject to refinement.

I am going to go ahead and scroll up the list and click on the bang Extrusion Material. Click on its Illumination swatch and change the brightness value to 100%, click OK, and Photoshop will go ahead and automatically update the ray trace. You might want to go ahead and give it a few passes. Again, two or three passes should do the trick. I am going to go ahead and click to interrupt the process. Then, once again, press the Alt or Option key, grab one of those channels, drag and drop it onto the page icon at the bottom of the Channels panel, and change the Document setting to Project masks.

Let's go ahead and call this one bang trails, and click OK. Now turn off the bang mesh, click inside the image window in order to interrupt the ray tracing process. Click on the zap Extrusion Material, click on its Illumination swatch, change the brightness value to 100%, click OK, and let the ray tracing process resume. Again, after a couple or three passes, go ahead and click to interrupt the process. And likewise again, press the Alt key, the Option key on the Mac; drag the channel of your choice.

It doesn't matter which one, so I keep dragging the blue channel, because it's closest. Drop it onto the page icon, change the Document to Project masks, go ahead and name as newest channel zap trails, and click OK. And then notice, if you go over to the Project masks.psd document, you now have four channels inside your Channels panel. You've got letters, you've got pow trails, you've got bang trails, and you've got zap trails. So everything is good to go. Now at this point, you can go ahead and return to the Brighter letters.psd image. Go up to the File menu -- this is very important -- and choose the Revert command so that you undo all the mess you've made of this document, and a moment later you will see the restored image with all layers intact.

We are done with the 3D panel, so I am going to go ahead and close it. All right. So we've generated every single mask we could possibly need. In the next exercise, I will show you how to use those masks to mask the smoke.

Show transcript

This video is part of

Image for Photoshop CS5 Extended One-on-One: 3D Type Effects
Photoshop CS5 Extended One-on-One: 3D Type Effects

75 video lessons · 11531 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 2m 25s
    1. Welcome
      2m 25s
  2. 47m 32s
    1. Making thriller/chiller type
      4m 14s
    2. Creating a slanted incline
      2m 54s
    3. Smearing colors across letters
      5m 21s
    4. Casting and catching light
      4m 9s
    5. Masking away shadow errors
      4m 35s
    6. Creating drop-and-splatter effects
      6m 16s
    7. Color-correcting 3D in Camera Raw
      4m 11s
    8. Placing Camera Raw and raster art
      5m 56s
    9. Mastering register and knockout
      7m 8s
    10. Combining layer mask and density
      2m 48s
  3. 41m 44s
    1. Making hand-drawn type in 3D
      3m 44s
    2. Tracing letters with filters
      3m 55s
    3. Restoring missing outlines
      3m 46s
    4. Tracing a photographic background
      4m 32s
    5. Separating letters from the extruded sides
      4m 28s
    6. Turning a cartoon into "glory type"
      3m 25s
    7. Making a hand-drawn neon effect
      5m 1s
    8. Changing glow, mask, and color
      3m 35s
    9. Modifying your hand-drawn 3D text
      6m 6s
    10. Updating static layers and masks
      3m 12s
  4. 54m 24s
    1. Making cable-length I-beam extrusions
      5m 37s
    2. Similarly extruding other type layers
      3m 29s
    3. Rotating, positioning, and scaling words
      6m 33s
    4. Removing one texture and creating another
      6m 47s
    5. Dressing up the cable-length I-beams
      4m 8s
    6. Precisely masking your 3D letters
      4m 32s
    7. Brightening the faces of your letters
      5m 47s
    8. Masking the extruded sides
      5m 56s
    9. Painting in a 3D smoke effect
      6m 55s
    10. Knocking out the excess smoke
      4m 40s
  5. 1h 5m
    1. Establishing a worthy grunge background
      3m 53s
    2. Assigning a bevel with a custom contour
      3m 53s
    3. Matching 3D type to a photographic scene
      6m 22s
    4. Lifting masks from plain 3D letters
      4m 48s
    5. Assigning a rusting grunge-metal material
      5m 26s
    6. Creating matching faux-gold bevels
      5m 36s
    7. Tracing the faces of your letters
      4m 19s
    8. Painting in the back-alley slime trails
      8m 7s
    9. Simulating heavy-duty 3D wires
      4m 50s
    10. Adding a crack to any letter
      7m 1s
    11. Lighting a background to match your type
      5m 23s
    12. Post-processing type in Camera Raw
      6m 15s
  6. 35m 24s
    1. Making a 3D pillow inflation
      3m 59s
    2. "Fluffing up" the letters
      3m 55s
    3. Masking and lighting the 3D type
      4m 1s
    4. Casting colorful ground-plane shadows
      4m 46s
    5. Assigning materials and bump maps
      4m 9s
    6. Removing seams from a bump map
      7m 1s
    7. Simulating worn fabric with Soft Noise
      4m 7s
    8. Resolving last-minute lighting issues
      3m 26s
  7. 55m 41s
    1. Making blocky comic-book-style type
      3m 53s
    2. Scaling depth-map bumps
      3m 19s
    3. Using the built-in shadow catcher
      2m 31s
    4. Opening an ACR image from Photoshop
      5m 19s
    5. Tracing and shading the blocks
      4m 42s
    6. Masking block letters with the Magic Wand
      5m 51s
    7. Adding graphic effects to the background
      4m 11s
    8. Masking the base of the letterforms
      7m 12s
    9. Tracing halos around the letter backs
      5m 57s
    10. Creating a circuit board pattern
      5m 7s
    11. Making a complex pattern glow
      4m 49s
    12. Adding bright 2D shadow type
      2m 50s
  8. 47m 38s
    1. Prepping ACR and Illustrator objects
      3m 55s
    2. Reconciling multiple vector constraints
      5m 19s
    3. Fixing the type onto the tree
      2m 42s
    4. Creating a sunken extrusion
      5m 39s
    5. Combining blending modes and diffuse texture
      3m 59s
    6. Bending 3D text as a Smart Object
      4m 25s
    7. Enhancing carved type with Smart Filters
      3m 6s
    8. Masking away the forward extrusions
      3m 54s
    9. Duplicating the carving up the tree
      6m 45s
    10. Masking the many bits of exposed wood
      4m 21s
    11. Dyeing the inside of the hearts red
      3m 33s
  9. 40s
    1. See ya
      40s

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