Join Deke McClelland for an in-depth discussion in this video Creating a 3D revolution, part of Photoshop CS5 Extended One-on-One: 3D Objects.
In this exercise, we are going to take that Apple slice that's contained inside of the vector-based mask. Now we are going to use Repousse to revolve it into a three-quarter apple. If you're working along with me, you'll need a couple of images open, starting with Base table.psd. It contains all of the elements of our composition that we will need except for the stuff that we are going to create using Repousse. So right now we are seeing a 2d layer in the background that has a smart filter applied to it as well has a couple of adjustment layers and in this table layer here inside the Layers panel is a 3D postcard and it's just sitting there waiting for us to put stuff onto it so we can cast shadows onto it and so forth.
All right the other image you need is Apple slices.psd. Both of these images are found inside the 12_ADV_repousse folder and I've gone ahead and restore the original version of this image. Turn off the bottom two layers and then turn on the apple layer to make it active. Go ahead and select that layer. Right-click in an empty portion of it and choose duplicate layer and then inside the Duplicate layer dialog box, I want you to switch the Document option from Apple slices to Base table.psd. So both of these images have to be open for this to work and then click OK and that goes in and duplicates the apple image into the other composition.
So I'm going to switch back to Base table.psd and there's our apple waiting and ready to go. Now go up to the 3D menu, choose Repousse, and choose either layer Mask or Selected Path, it doesn't matter which one you choose. You get an error message telling you are going to rasterize the layer; you know to ignore it, just click OK. It's not even sort of true; I just demonstrate it to you how do you have those rough edges when we work with pixels and we get the smooth edges with vector so obviously, we're not rasterizing a darn thing. Anyway, change the X angle value because we're performing a revolution around the y axis.
So change the X angle to 285 degrees. Now that's going to go ahead and revolve the Apple more or less around the center of itself. That's not what we want it all. So go ahead and select the right point inside this reference point matrix. That's not going to appear to give you the right result at all and you can go ahead and rotate the apple on screen here by dragging inside the Image window. So you can see that we have this big glaring gap. Well, that's because we have depth associated with our extrusion. So we need to take the Depth value down to 0 in order to smush those apple slices together and that's it; that's all it takes, nothing more in order to create our 3D apple.
Now as long as we are working away here inside the Repousse dialog box, notice that Repousse is automatically assigning materials and it's assigning the apple slice itself, the contents of that layer is being assigned to both the front and back of the beveled object. This being the front over here on the left-hand side and this guy over on the right-hand side, being the back. So we need that. However, there are no bevels and the bevels currently have the same material assigned. We might as well get rid of it just to simplify things by clicking on the down pointing arrowhead for one bevel or the other; doesn't matter which one you start with and then selecting No Texture which for some reason is a few balls down here and then go ahead and do the same thing for bevel number two.
Change it to No Texture as well and that's all we need to do. No other change is required. So just make sure you're bending, not sharing; that's very important. Depth is 0, the right point inside the matrix is selected, X angle is set to 285. Then click OK in order to create your apple. All right, let's go ahead and establish a few additional settings here. First of all, I'm going to double-click on the thumbnail for the apple layer to bring up the 3D scene panel and I am going to click on Apple which is our one and only mesh inside of this object so far and I'm going to a select the third tool down which is the Mesh Pan tool for me.
It's probably going to be the Mesh Rotate tool for you and I just want to zero out all the values in the Options bar. This is just going to simplify things later. So go ahead and change the X, Y and Z values to 0 like so and then switch to the Pan tool so you switch from the Orientation settings to the Position settings and go ahead and zero out these guys as well. So everybody wants to be a zero. Now that's not going to look right at all but I want to establish my perspective, my view of the scene using the camera angle and nothing more.
So let's go ahead and switch to the camera by clicking on the Camera Rotate tool here inside the toolbox; I'm going to hide the 3D panel as well, so I can better see my scene and the Orientation settings that I want you to enter and you are going to have to enter exactly the same orientation values, by the way, because otherwise, the stem elements in the other stuff inside of this composition won't line up correctly. So the X value should be -111, the Y value should be 0. Don't worry about the fact that we can even see the apple anymore; that always happens.
Change the Z value to -144. All right, then let's go and switch over to the position options here by clicking in the pan, the 3D Camera tool and change the X value to -1310 and we're beginning to see the bottom of the apple that's encouraging. Change the Y value to -2520 and then change the Z value to 930 and that should plot the apple down right there. Now notice how lumpy your apple is. Of course, it's grey, that's a problem; we need to assign an applish material to it, but it's also got these lumpy edges which are just no good at all.
And that's a function of the Mesh quality that we assigned or better put, didn't assign inside the Repousse dialog box. So what I'd like you to do is go back to the 3D panel there, make sure that the Apple Mesh is selected, drop down to the little R icon, click on it, wait a moment for the Repousse dialog box to come up and then notice you have this Mesh Quality setting right there. Currently it's set to Draft. I want you to change it to Best. When we are working with circular volumetric objects like this, best is by far the best setting to work with and it is going to slow things down just a little bit but of course, it's going to give you much better results.
Then go ahead and click OK in order to accept that modification and I want to stress. You may recall in the previous exercise, I showed you the difference between working with the pixel mask and a vector mask. Both of those results were the result of the best mesh setting. So I just want to stress that you need that vector mask plus the best mesh setting in order to get decent results. All right, that's our base apple; in the next exercise, we're going to assign a material, a bump map and like the object.
- Spinning a 2D layer in 3D space
- Using basic 3D shapes
- Importing a 3D model as an OBJ file
- Exporting a 3D model to the DAE format
- Painting directly on a 3D layer
- Working with UV overlays
- Making a bump map
- Working with 3D depth maps
- The medical applications of Photoshop 3D
- Creating 3D motion effects
- Revolving objects in 3D space
- Adjusting the depth of field