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In this final installment of Photoshop CS5 Extended One-on-One, Deke McClelland creates a total of seven 3D type effects from scratch. This project-based course shows how to create and modify 3D type, craft hand-drawn effects, and design complex character extrusions. The course also explains how to color-correct and post-process 3D type in Camera RAW.
All right, so far we've manage to apply extrusion settings to one of the three words. Now let's address the other two. I've saved my progress as The extruded Zap .psd, found inside the 03_cables folder. If you're working along with me, go ahead and select the bang layer, then go up to the 3D menu, choose Repousse, and choose Layer Mask. If you get the alert message, go ahead and click the Yes button. Then the first thing we should do inside the Repousse dialog box is change the Mesh Quality from Draft, to Best. Next I want to go ahead and change the Depth value to 6, and then turn on the Shear radio button. I came up with an X Angle value of -30, and a Y Angle of -60, and then I went ahead and changed the Twist value to 80.
Now, notice that we get these amazingly smooth contours as a result of the Best Mesh Quality setting. Now this time around, we've got three holes to worry about; two in the B, and one in the A. Let's go ahead and change that Type setting to Hole, and see which one changes. And it looks like Photoshop, once again, went ahead and grabbed the hole inside the A. So click on that Rotate tool under the word Internal, and then click on one of the holes in the B, change its type from Inactive, to Hole, and then go ahead and click on the other hole inside the B. And it may take a moment for Photoshop to catch up, so you have to wait for it, but once it's ready to go, go ahead and click on that hole, and then change the type to Hole once again. And when the hole changes, go ahead and click the OK button in order to create that 3D object.
All right; the only layer left is pow, so go ahead and click on it. And now go to the 3D menu, choose Repousse, and choose Layer Mask, click on the Yes button in response to the alert message, and you know what? This time around I am going to go ahead and change my values before I change to Mesh Quality, because that way things will go heck of a lot quicker here. I'll change the X Angle value to 30, let's change the Y Angle value to -30, and then I want the Twist value this time to be 100. Now, this doesn't look right at all, and that's because the Bend option is turned on, so go ahead and click on Shear in order to slant that extrusion downward.
We've got a two holes to worry about this time; one in the P, one in the O. Lets go ahead and change Type to Hole. That goes ahead and gets the hole inside the O, we need to grab the one inside the P by clicking on this Rotate tool, clicking on the hole inside the P, and then changing its Type to Hole. Notice how much more quickly things went with the Mesh Quality set to Draft, but nonetheless we do need Best, so go ahead and change that setting accordingly, and click the OK button in order to establish that 3D object. All right, now at this point we want all three of these objects to interact with each other, so we need to combine them into a single scene.
With the pow layer selected, go ahead and Shift+click on the bang layer to select it as well, and then go to the 3D menu, and choose Merge 3D layers, in order to combine those two layers into a single 3D scene. Now Shift+Click on the zap layer, in order to select it as well, go back to a 3D menu and choose Merge 3D layers again. You may recall that you can only combine two 3D layers at a time inside of Photoshop. And that will result in a single layer that, right now, is called zap. Now we go ahead and rename that layer: zap bang pow, because it does contain all three of those words.
Now at this point, you may look at the result and say, gosh Deke! That looks absolutely terrible! Especially, Vis-a-vis the final effect we're going for, where zap is at one angle, bang is at another, and a pow is at third, and all the cable extrusions are descending to the very bottom of the canvas. Well, that's because we need to modify the orientation, and position, and scale, of every single one of these meshes, and we'll do exactly that in the next exercise.
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