Join Deke McClelland for an in-depth discussion in this video Creating the base shape layers, part of Photoshop CS5 Extended One-on-One: 3D Fundamentals.
All right, just as a frame of reference, here's the final version of the old weathered sheriff badge that we'll be creating. And it's our most complicated projects so far, because it includes this time around four meshes and the meshes are as follows. In the background we've got a big star shape that's responsible for this dark texture inside the lines and the type. Then we've got another star shape immediately in front of it that has the stripes and the letters cut out of it. The third mesh is this collection of six balls that surrounds the star. And then finally we have to represent the interior of the R as an independent mesh, for reasons that will become clear as we work through this project.
The background is not part of the scene. It's an independent stock image. So we're once again taking advantage of the Ground Plane Shadow Catcher, but this time we have a couple of shadows that we're casting using two spotlights. Now, it's all built-- Even though it looks like we have some text inside the scene, it's all built from vector- based shapes inside of Photoshop. And we're going to start things off by creating those shapes before we give them depth and volume inside of Repousse. So I'm going to switch to this image. It's called Sheriff shapes.psd and it's found inside the 03_shapes folder.
And you may see a couple of guidelines on screen, if not, then press Ctrl+Semicolon, or Command+Semicolon on the Mac, in order to bring those guidelines up. This document also contains some live text. And it's set in Birch Standard, which is one of those fonts that should ship along with the Creative Suite. If you don't have it though, it doesn't matter all because I've gone ahead and represented all the letters as a shape layer, and that's what we'll eventually be working with. But I just wanted you to see how this whole thing was put together. All right, I'm going to start things off by drawing a big star and I want that star to be yellow, and it doesn't matter at all. We're going to be covering up the colors that are associated with these base shapes, but I just want to be able to tell all the shapes apart from each other as we build them.
So I'm going to dial yellow into the Color panel. And that's a Hue of 60 degrees, Saturation 100% and Brightness 100%. Your star drawing tool inside of Photoshop is the Polygon tool. So drop down to whatever shape tool you see down here toward the bottom of the toolbox and select the Polygon tool. Then change the number of Sides to 6 and finally click on this little down- pointing arrowhead next to the blob and turn on Star. Now, it's hard to figure out exactly how you need to indent the sides, but if you go ahead and draw a star now, you'll see that it's not a sheriff's star at all.
It's too spiky. So I'll go ahead and undo that. What you need to do is set the Indent By value to 33.3. And I just came up with that by happenstance, but it works perfectly. And then I want you to drag from the intersection of those two guidelines up into the center of the star. And if you want to constrain the shape so it's absolutely up and down, then press the Shift key as you drag, and then release like so and you will have drawn the star shape that we need to work with. Go ahead and rename this shape rear, because it is going to be our rear star.
All right, the next step is to create all the balls, and I hesitate to call them spheres because they're not ultimately spheres and they certainly aren't circles. They are these sort of blobby things, as you'll see, that we're going to create using that Inflation feature inside of Repousse. Just because it's the easiest way to work. If we were to use real spheres, we would have precious little in the way of positioning options available to us. You don't have power duplication. You can't rotate around a specific origin point. It's a big pain in the neck. Whereas if we get all our balls arranged in advance and then go ahead and extrude them, we're in much better shape.
So I've gone ahead and clicked on the balls layer to make it active. I am going to switch over to my Black Arrow tool, which you can get by pressing the A key, and then click on that shape to select it. Then you need to press a keyboard shortcut. This is the only way to get to this. Which is Ctrl+Alt+T or Command+Option+T on the Mac. It's a method for duplicating the selected object and it's going to help us make quick work of duplicating these circles. Then, drag that little target right there, which is the origin for the transformation, go ahead and drag it down to the intersection of the guidelines.
Then go up to the Options bar and change the Rotate value to 60 and then press the Enter key or the Return key on the Mac. Now, I've got another keyboard shortcut for you. You have to mash your fist and press the T key. So that's Ctrl+Shift+ Alt+T or Command+Shift+Option+T on the Mac. And keep doing it. You've got to do it four times in a row there in order to complete all the circles. And that's your power duplication, which is not necessarily the most intuitive feature inside of Photoshop because it's based on keyboard shortcuts.
However, it doesn't even begin to exist inside the realm of 3D. All right, now that we've created all the balls, we need to create another version of this star that has the text and the stripes cut out of it, and we haven't even made the stripes yet, and we're going to create that shape in the very next exercise.
- Creating basic 3D shapes
- Converting 2D art to 3D
- Using the Camera Rotate tool
- Cutting holes from shapes
- Rotating and positioning by the numbers
- Importing a model from Google SketchUp
- Assigning materials and lights
- Setting orientation and position
- Designing a custom bump map
- Modifying the attributes of a material
- Adding a person to a 3D scene