Tài iệu Photoshop cs5 by Dayley part 104 pot

Part VII: Working with 3D Images
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3D {Materials} Panel
You can apply several texture maps to each mesh associated with your object. These texture maps
control the color, texture, and highlights of your object. These textures taken together constitute
the material associated with a particular mesh. When you have several meshes in a 3D scene, you
also have several materials associated with that scene. When you have the 3D {Materials} panel
open, you work closely with the Layers panel to make changes to the look of your object.
Figure 23.17 shows the 3D {Materials} panel along with the Layers panel associated with the wine
bottle that can be created from the 3D presets. You can see that three textures and three materials
are associated with the bottle. This is deceptive, because you might think they are the same thing,
but I take you through a couple of exercises to not only demonstrate the difference between them,
but show you how you can make changes to them.
FIGURE 23.17
The 3D {Materials} panel lists the materials associated with your 3D object, and the Layers panel lists the
textures.
Editing textures
Textures are embedded layers in your 3D object. You can edit them by double-clicking the layer in
the Layers panel. This brings up the image file used to create the texture. Make changes to the
image file and save it. The changes are immediately reflected on your 3D object.
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The label on the wine bottle created using the Wine Bottle preset is empty. You can make a custom
label by following these steps:
1. Create a new document in Photoshop.
I created an 11 x 8.5 landscape paper-sized document with a white background.
2. Double-click the background layer to change it to a regular layer, and change the
name of the layer to Label.
Note
It isn’t necessary to change the layer from a background layer to create a 3D object, but you want to change

the name of this layer.
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3. Use the 3D panel to create a new shape from a preset.
Choose Wine Bottle, and click Create. The wine bottle shape appears, using the white
background color for the label and leaving a transparent background, as shown in Figure
23.18. The white background used to create the label is now a sublayer in the 3D object
named “Label.”
FIGURE 23.18
Starting with a white background created a blank label on the wine bottle.
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4. Double-click the Label sublayer.
A new document comes up in Photoshop. It looks just like the document you started
with in Step 1.
5. Place an image file, add text, create shapes, and/or paint to your heart’s content.
Use all the tools in Photoshop to create a fabulous label. You can see mine in
Figure 23.19.
FIGURE 23.19
A label can be created by double-clicking the Label texture layer and editing it.
6. Use Ctrl/Ô+S to save your changes to the label and update your 3D file.
You can close the label file, or just click the tab of your 3D file to return to it. You see
your new label wrapped around the bottle, as shown in Figure 23.20.
Tip
You probably want to leave the label file open long enough to make sure it looks the way you want it to. After
all, it looks different on the bottle than it does as a flat document.
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FIGURE 23.20
After you save your label, it is updated in your 3D document.
You can continue to make changes to the bottle by making changes to the bottle and cork textures.
When you open these files, you might be surprised to see that they are completely transparent;
there is no color information at all. That’s because their color and texture are being created in the
3D {Materials} panel. I show you how in the next section.
Editing materials
Even with a nice label applied, the wine bottle is still a little flat and in need of work. The cork and
bottle both get their color from the material settings in the 3D {Material} panel. If you select the
cork layer, you see that material settings are already applied to it. We could open the texture layer
to apply a cork texture, but let’s see if we can’t make it look good just using the materials settings.
Change the material settings by following these steps:
1. Select the cork Material layer from the 3D {Materials} panel.
You see the material settings change to reflect the cork’s settings, as shown in
Figure 23.21.
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FIGURE 23.21
The cork settings in the 3D {Materials} panel
2. Click the material picker to open it, as shown in Figure 23.22, and find thumbnails
of available material presets. Choose Wood Cork, and then click anywhere else to
close the material picker.
The settings all change to reflect the wood cork presets. The cork already looks 100 per-
cent better!
FIGURE 23.22
A quick switch to the Wood Cork material makes a big difference in the way it looks.
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3. Select the Glass_Material layer.
Again the settings change. There is no preset in the materials picker that fits the bill here,
so you have to create your own.
4. Change the settings of the Glass materials.
You can change the following settings:
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Diffuse: You can see in the Layers panel that Diffuse is the heading that all the textures
are placed under. The diffuse texture is the primary color or texture of the selected
material. The diffuse texture of the bottle is green, but the diffuse texture of the label is
the one you created. You can click the Edit the Diffuse Texture icon next to the diffuse
color and choose Open Texture to open the texture file, just as you did from the Layers
panel, and edit it. Change the color of your bottle to a deeper green.
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Opacity: This changes the opacity of the material. You can set a universal opacity by
using the slider, or you can load or create an opacity map. An opacity map uses gray-
scale values to determine the opacity of the materials. White creates 100 percent opac-
ity and black is completely translucent, with different shades of gray being everything
in between. By creating the opacity map shown in Figure 23.23, I can change the
opacity of the top of the bottle, making it look a little more like translucent glass while
giving it the appearance of only being partially full of liquid.
Note
Most of these options have icons to the right that allow you to edit that option. If the icon looks like a folder, a
map has not been applied. If the icon looks like a document, a map has been applied. Clicking this icon gives
you a list of options to create, load, edit, or delete the applied map.
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FIGURE 23.23
You can change the relative translucency of your object using an opacity map.
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Tip
When you create a new map for any one of these settings, make it the same size as the object you are mapping
it to so you can be sure to can get specific details correct. The document that I created my wine bottle from
was the Default Photoshop size, for example, so I can create my maps to be the same size.
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Bump: You also can use grayscale values to create a bump map that simulates texture
on your object. You don’t want to add one of these to the glass material, but if you
select the Cork_Material layer again and open the bump texture, you see the texture
shown in Figure 23.24.
FIGURE 23.24
A bump map is also created by using a grayscale image.
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Normal: A Normal map is a texture map that simulates texture just like the bump
map, but it is much more versatile because it is based on the RGB values rather than
just grayscale values.
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Environment: The Environment map is placed as a spherical panorama of the envi-
ronment around the object. You don’t actually see the Environment map around the
object though; instead you see a reflection of the environment in any areas of your
image that are reflective.
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Reflection: This setting determines the reflectivity of your object. The glass is highly
reflective, so it is set by default to 100. You also can apply Reflection maps to your
object to make some areas more reflective than others.
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Illumination: You can create an inner glow with the Illumination setting. Click the
color to change the color of the light. Black creates no illumination whatsoever, and
white makes your object glow so brightly that it’s transparent. This is the perfect set-
ting to add color to the liquid in the bottle. By cutting and pasting the Opacity map

and changing the upper color to a dark gray and the bottom color to a deep burgundy,
as shown in Figure 23.25, I can deepen the color of the liquid in the bottle and make it
look more realistic.
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FIGURE 23.25
The Illumination map can use RGB values to change the color of the inner light of your
object.
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Gloss: You can add glossiness to your object to make it look smooth and add reflectiv-
ity. The default on the glass is 59 percent, and that is just about right, because a higher
value gives it a solid, plastic look. You can add a Gloss map with this setting.
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Shine: The Shine setting determines how sharp the highlights are on the object. A
shininess of 100 percent creates the sharp, clean highlights characteristic of glass. The
shine also can be applied to specified areas using a grayscale map.
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Specular: This setting determines the color of the specular highlights on your object.
The specular highlights are the areas that are so reflective, they don’t contain color
information. These highlights are shown only in the color that you choose, not in any
of the other colors placed in the materials of your object.
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Ambient: This setting sets the color of the ambient light. This isn’t a dramatic change,
but it can give your object a warmer or cooler look or slightly change the color.
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Refraction: Refraction changes the way light refracts through your scene. A setting of
1 approximates the refraction you get when light passes through air. You see a differ-
ence in this setting only when you are rendering a ray traced scene.
Material Drop tool

The Material Drop tool is found at the bottom of the tools in the 3D panel. It looks very similar
to the Paint Bucket tool and works very similarly as well. Click the Material Drop tool to activate
it and change the options bar. The options bar for the Material Drop tool is very simple; it’s a
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drop-down menu with the material presets and a Load Selected button to load the selected material
into the bucket. Use the drop-down menu to choose a material preset, hit the Load Selected button,
and use the bucket to hover over your 3D scene. The different meshes in your scene are highlighted
as you hover over them. Simply click to fill a highlighted mesh with the selected material.
3D {Lights} Panel
The last filter in the 3D panel opens the 3D {Lights} panel shown in Figure 23.26. Whether you
create a model in Photoshop or import a model from another source, Photoshop places default
infinite lights in your scene. Without these lights, you can’t see the details of your object; it would
appear very dark.
FIGURE 23.26
The 3D {Lights} panel
Besides the infinite lights, you can add three other types of light to your scene: point lights, spot
lights, and image-based lights. Each type of light is contained in its own group in the light layers.
As you add additional lights, they appear under their particular light group. You can select a light
to make changes to it or double-click it to change its name.
Before you start adding and adjusting the lights in your scene, you should turn on the light guides
so you can see your light sources and types. Click the Toggle misc 3D Extras icon at the bottom of
the 3D panel, and select lights. The light sources appear in your view of the 3D object, as shown in
Figure 23.27.
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