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

Simulating heavy-duty 3D wires


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

with Deke McClelland

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Video: Simulating heavy-duty 3D wires

In this exercise, I'm going to show you how to create the wires that are holding up the sign, and if you scroll to the bottom of Layers panel you'll find a layer called wires. Go ahead and turn it on, as well as click on the layer to select it. All we're seeing here is a couple of very thin rectangles that are filled with gray. So, for example, let's say I wanted to add another wire. I'd go ahead and click on the Vector Mask thumbnail here inside the Layers panel to make it active. Then I would get my black arrow tool, which I can select by pressing the A key, and I would click on one of these rectangles to select it. And then I'd press the Shift+Alt keys, or the Shift+Option keys on the Mac, and then drag this line to a different location, and that would create a copy.
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  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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Watch the Online Video Course Photoshop CS5 Extended One-on-One: 3D Type Effects
5h 51m Intermediate Oct 04, 2011

Viewers: in countries Watching now:

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.

Topics include:
  • Smearing colors across letters
  • Creating drop-and-splatter effects
  • Tracing character outlines with smart filters
  • Rotating, positioning, and scaling words
  • Quickly (and accurately) masking 3D letters
  • Assigning complex, high-quality bevels
  • Matching 3D type to a photographic scene
  • Adding a crack to a grunge letter
  • Making a 3D pillow inflation
  • Simulating worn fabric with soft noise
  • Making blocky type using depth maps
  • Carving recessed type in a tree
  • Creating a sunken extrusion
  • Bending 3D text as a Smart Object
Subjects:
3D + Animation Design
Software:
Photoshop
Author:
Deke McClelland

Simulating heavy-duty 3D wires

In this exercise, I'm going to show you how to create the wires that are holding up the sign, and if you scroll to the bottom of Layers panel you'll find a layer called wires. Go ahead and turn it on, as well as click on the layer to select it. All we're seeing here is a couple of very thin rectangles that are filled with gray. So, for example, let's say I wanted to add another wire. I'd go ahead and click on the Vector Mask thumbnail here inside the Layers panel to make it active. Then I would get my black arrow tool, which I can select by pressing the A key, and I would click on one of these rectangles to select it. And then I'd press the Shift+Alt keys, or the Shift+Option keys on the Mac, and then drag this line to a different location, and that would create a copy.

That's what I did, by the way. I drew one very thin rectangle, and duplicated it to create the other wire. Anyway, I just want two wires. So I'm going to press the Backspace key, or the Delete key on the Mac, in order to get rid of that clone. I'm also click on the layer mask thumbnail, once again, in order to hide those path outlines, and I'm going to zoom in quite a bit on this gray rectangle above the Y, so that I can keep a close eye on the layer effects that I'm about to apply. Press the M key to switch back to the Rectangular Marquee tool, and then drop down to the fX icon at the bottom of the Layers panel.

I'm going to start with an Inner Shadow, because I want to create little bit of a highlight along this left-hand edge. The Global Light angle is set to 120% for this file; that's just fine. I'm going to click on the color swatch, change the color to white, click OK, and change the Blend Mode from Multiply, to Screen, so that we get a bright edge. Then I'm going to take the Opacity value down to 55%. I'm also going to take both the Distance and Size values down. So I'll take the Distance value down to 1, and the Size value down to 1 as well.

So we have this very thin highlight. I want to call a little bit of attention to the wire. So I'm going to trace it with a slight Outer Glow, and it's really going to be a kind of shadow when we get down with it. Go ahead and click on Outer Glow to select it, click on the color swatch, let's change it to black this time around; click OK. Change the Blend Mode from Screen, to Multiply. So we're pretty much inverting all the effects so far. The Inner Shadow is actually a highlight; the Outer Glow is actually a shadow. I'm going to take the Opacity value down to 55% again, and I'm going to take the Size value down to 1.

So we get just a slight tracing effect around that wire. All right; now let's add a shadow. Move the Layer Style dialog box over a little bit. Click on the Drop Shadow in order to make it active, and you can see the default settings here. The shadow is black, it's set to Multiply, an Opacity value of 75%, the Angle is 120, the Size is 5 pixels; I'm going to leave all those settings alone. The only value I'm going to change is Distance, and I'm going to raise it to 20 pixels, so that we're creating a little depth in our scene. In other words, the wires are, perhaps, an inch away from that wall.

Finally, I wanted to give a sense of texture to these wires. So I clicked on Pattern Overlay to make it active. Click on the big, blue pattern. By default, Photoshop only offers you two patterns at all, but there are lots more to choose from. Go ahead and click on right-pointing arrow head and choose the Patterns library from the bottom of list. Photoshop will ask you, hey, do you want to append these patterns, or just overwrite the current ones? Well, the Patterns library includes these two guys, so go ahead and click OK in order to overwrite those two patterns; there they are. The one we're looking for is Optical Squares.

At least, that's the one that I thought provided the best effect. So go ahead and click on Optical Squares to make it active. And then I kind of dragged around inside of the image window here, and I ultimately came up with this effect. So in other words, we're seeing these kind of vertical line with 1, 2, 3, 4, 5, 6 little horizontal stripes, and then another vertical line, and so forth. And I'm seeing three stripes at the top, and approximately -- let's drag this up a little bit -- three stripes of the bottom as well.

You can go your own way. You don't have to do exactly what I'm doing, but I just wanted to give you a sense of what I came up with. That actually ends up working out very nicely for the other wire as well. Let's reduce the Opacity value to 75%, and then I'm going to change the Blend Mode from Normal, to Multiply, so that we burn those lines into the gray wires. Click OK in order to accept the effect. Press Control+0, or Command+0 on a Mac, in order to zoom the image out, so it fits on screen. So that's my simulation of 3D wires using 2D layer effects.

Now, I am taking a fair amount of care, you may have noticed, to make the scene as realistic as possible, but here's something I'm overlooking. So just in case you have a keen eye, it's pretty interesting that we have a wire holding up the M and the Y as if all of these letters are connected to each other, but what in the world is connecting the letters together? Well, I played around with a few different treatments of bars in the background; I just didn't like them, and I just didn't feel like the scene needed that. So we're just assuming that the viewer of our scene is okay with some sort of invisible connection. In the next exercise, I'll show you how to create that crack in the R.

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