Tài iệu Photoshop cs5 by Dayley part 107 doc

Chapter 24: Using Photoshop Tools to Change the Appearance of a 3D Layer
765
You can quickly see the merits of being able to paint directly to your object in this manner. Placing
your brush strokes exactly where they need to be on the texture to get the effect you want is
incredibly easy. You can continue to make changes to the different textures of your object in this
manner, simply by choosing the texture you want to change in the 3D menu.
Note
If the texture you choose to paint on (glossiness, opacity, and so on) has not already been applied to your
object, you can either create a new texture in the 3D {Materials} panel as I had you do with the bump texture,
or you can simply drag your brush over your object. After you’ve tried to paint into a texture that doesn’t exist,
Photoshop creates that texture for you.
n
Adjustments, Layer Styles, and Filters
You also can change the look of a 3D object the same way you can change the look of any image—
using adjustments, layer styles, and filters over the entire object. Especially as you use 3D objects
in composites, you’ll want to use these tools to create just the right look. This isn’t as straightfor-
ward as working with an image file, so I show you how it works.
Note
Using adjustments, layer styles, and filters over a 3D file should not be confused with using these tools on a
texture map. The texture maps attached to a 3D file are image files and can be adjusted in the time-honored
method that is always used to adjust image files in Photoshop. This section focuses on applying these tools to a
3D layer.
n
Applying an adjustment to a 3D layer
You can apply an adjustment to a 3D layer in much the same way as you would apply it to an
image file and for much the same reason. Often, as you adjust the light and color of the diffuse tex-
ture, you find that after it’s been applied to a 3D object, it looks much different than it did as an
image. It’s much darker, for one thing. Applying an adjustment that changes the look of the light
or color directly to the 3D object is often the solution to getting just the look you want without
having to go back and forth between the 3D file and the texture file, trying to adjust the light and
color.

Tip
If you are making adjustments to just your 3D object layer, be sure to clip the Adjustment layer to your 3D
object layer using the icon in the Adjustment panel. This ensures that the adjustments are applied only to your
3D layer and not any other layers in your document.
n
Cross-Ref
Learn more about adjustments and Adjustment layers in Chapter 13.
n
34_584743-ch24.indd 76534_584743-ch24.indd 765 5/3/10 10:44 AM5/3/10 10:44 AM
Part VII: Working with 3D Images
766
Of course, these changes are made unilaterally to your 3D object, unlike the more subtle changes
that can be made by adding and changing lights or making changes to individual texture maps.
Another caveat to adding adjustments to a 3D layer is that the adjustments must be added through
an Adjustment layer. The adjustments in the Image menu are not available for a 3D object. I hardly
ever use the Image menu, anyway, so this doesn’t usually affect the way I work, but you may occa-
sionally have a reason to use the adjustments in the Image menu. If you want to add these adjust-
ments, you must do one of two things:
l
Rasterize your 3D layer by choosing either Rasterize ➪ 3D or Flatten Image from the Layer
menu.
l
Turn your 3D layer into a Smart Object layer by choosing Convert to Smart Object from
the Layers panel menu. I discuss 3D layers as Smart Objects a little later in this chapter.
Applying a layer style to a 3D layer
Applying a layer style to a 3D object is a wonderful way to add an effect that can’t be achieved
using the 3D textures. It is easy to add elements like inner glow, drop shadows, and stroke outlines
to your 3D objects and spice up the way they look. The best thing about using layer styles on a 3D
object is that the style is reapplied each time you move your object, so creating a stroke around the
cone in Figure 24.10 didn’t leave behind a cone-shaped outline when I changed the angle of the

cone. This is true for all the layer styles.
FIGURE 24.10
Layer styles are instantly reapplied every time you manipulate your 3D object.
The layer styles are added as effects sublayers right along with the textures, as shown in Figure
24.11. You can change the settings of the styles that are applied by double-clicking any of the
Effects layers to bring up the Layer Styles dialog box.
34_584743-ch24.indd 76634_584743-ch24.indd 766 5/3/10 10:44 AM5/3/10 10:44 AM
Chapter 24: Using Photoshop Tools to Change the Appearance of a 3D Layer
767
FIGURE 24.11
Layer styles appear as sublayers of your 3D object layer.
Cross-Ref
The layer styles are covered in Chapter 10.
n
Applying a filter to a 3D layer
Applying filters to a 3D layer is a little trickier than adding an adjustment or layer style. You might
want to add a filter directly to a 3D layer instead of to the texture for the same reason that you
would add an adjustment directly to the 3D layer. The effects of a filter look different after the tex-
ture has been wrapped around your 3D object, and you can preview the filter in real time if it’s
added directly to your 3D object.
Furthermore, if your texture is tiled onto your 3D object, adding a filter to the texture makes the
tiling apparent. When you add the filter directly to your object, it doesn’t matter how the texture is
applied; the filter is applied to the entire object uniformly.
You can add a filter directly to a 3D object, but it affects only the visible surfaces. If you move your
3D object at all after applying a filter, you see the filter’s effects end, as shown in Figure 24.12.
The best way to add a filter to a 3D object is to change it to a Smart Object. That shouldn’t surprise
you, because turning your layers into Smart Objects is almost always the best way to add filters to
them, no matter what type of layer it is. After you’ve turned your 3D layer into a Smart Object
layer, you can add filters to it just as you would a Smart Object layer created from an image or any
other kind of layer. The ironic thing is that these filters still affect only the visible surface, but when

you open a Smart 3D Object and move it, the filter is reapplied to the new visible surfaces.
34_584743-ch24.indd 76734_584743-ch24.indd 767 5/3/10 10:44 AM5/3/10 10:44 AM
Part VII: Working with 3D Images
768
FIGURE 24.12
I applied the Watercolor filter to the sphere and then rotated it a little. You can see the watercolor effect
come to an abrupt stop.
Cross-Ref
You can learn all about the filters and Smart Filters in Chapter 20.
n
3D layers as Smart Objects
To create a Smart Object from a 3D layer, right-click it and choose Convert to Smart Object from
the flyout menu. This converts the 3D layer into a Smart Object and changes the icon on the
thumbnail from the 3D layer icon to a Smart Object icon, as shown in Figure 24.13. Now you have
texture and effect files embedded inside of a 3D object layer, which is embedded inside a Smart
Object! It sounds complicated, but it allows you so much versatility in the changes that can be
made (and then changed) to your 3D object.
FIGURE 24.13
When you create a Smart Object from a 3D layer, the icon on the thumbnail changes.
34_584743-ch24.indd 76834_584743-ch24.indd 768 5/3/10 10:44 AM5/3/10 10:44 AM
Chapter 24: Using Photoshop Tools to Change the Appearance of a 3D Layer
769
After you’ve turned your 3D layer into a Smart Object layer, you can apply Smart Filters that show
up as (yes, another set) of sublayers. You also can add adjustments directly to your object and use
the transformations found in the Edit menu, including the Puppet Warp.
A Smart Object layer gives you the best of both worlds. You still can make changes to your 3D
scene, using the 3D Transformation tools to manipulate it, adding lights and textures, and doing
anything else you want to do. Simply double-click the Smart Object layer, and your 3D layer opens
as a separate file that you can change. These changes are immediately updated to the main file,
even before you save your 3D layer file (save it before you close it, of course).

You also can open the texture files from the 3D layer file, just as you always could. The changes
you make to these files also are updated in both the 3D layer file and the Smart Object file.
Now that you understand how to work with 3D objects as 3D layers and as Smart Objects, you are
ready to use these versatile files to create fantastic composites.
Creating Composites
Now that you’ve gone over the basics, you can get started with the fun stuff! You are familiar with
the tools that help you create fantastic images in Photoshop. I showed you the basics of working
with 3D objects. Now I take you through some exercises that put several of these techniques
together to create composites using images and 3D objects. This gives you a chance to walk
through a few examples before you venture out on your own. These examples are pretty step-
intensive, but they include several different techniques so you can see how those techniques work
together. When you’re finished, you’ll have a better understanding of the fantastic things that you
can do with a 3D model in Photoshop.
Flying a carpet over a lake
The following example shows you how to create a flying carpet over a lake. Because several differ-
ent exercises go into creating this composite, I take you through them one at a time, with each
exercise building on the last one so you can do them in more manageable chunks.
Creating a 3D rug
The first exercise is to create a 3D rug. You do this using the Repoussé feature. Follow these steps:
1. Create a new blank document in Photoshop.
Tip
You’ll find out very quickly that working with 3D objects in Photoshop is a memory-intensive process. Because
these objects are vector files and can be resized without losing quality, it’s best to start with a very small file.
Smaller files save you time and ultimately frustration. Remember that the textures applied to these files are ras-
ter files, however. You may want to create larger textures, even when the 3D file itself is small.
n
34_584743-ch24.indd 76934_584743-ch24.indd 769 5/3/10 10:44 AM5/3/10 10:44 AM
Part VII: Working with 3D Images
770
2. Use the Pen tool to draw a rectangle in your document, as shown in Figure 24.14.

Hold down the Shift key while you are drawing so the lines are perfectly straight. After
closing the rectangle, use the Direct Selection tool to make the last line of your rectangle
straight, if needed.
FIGURE 24.14
Draw a rectangle to create a 3D rug using Repoussé.
3. Choose 3D ➪ Repoussé ➪ Selected Path to open the Repoussé dialog box.
4. From the Repoussé dialog box, change the depth to 0 and create a bevel that gives
the rug a nice edge, as shown in Figure 24.15.
The numbers you use to create this edge will vary, depending on the size of your rug.
Close the Repoussé dialog box by clicking OK.
5. Double-click the texture layer.
Because you created a bevel, you have two layers; choose the one that is not labeled
“Extrusion.” This opens the rug’s texture for you to edit.
6. Use the Paint Bucket tool to fill the texture with color.
I used a deep maroon, but it’s your rug, so be creative!
7. Click the Layer Styles icon (fx) at the bottom of the Layers panel.
8. From the Layer Styles menu, choose Pattern Overlay.
This opens the Layer Styles dialog box.
9. Click the down arrow next to the pattern thumbnail to open the pattern selector.
Choose a pattern for your rug. I used the metal landscape. Don’t forget to use the little
black arrow in the pattern selector to open the pattern menu where you find additional
pattern presets. The metal landscape pattern is found in the Patterns presets.
34_584743-ch24.indd 77034_584743-ch24.indd 770 5/3/10 10:44 AM5/3/10 10:44 AM
Chapter 24: Using Photoshop Tools to Change the Appearance of a 3D Layer
771
FIGURE 24.15
Repoussé gives depth and adds a bevel to your rectangle.
10. Change the opacity and scale of the pattern so your rug looks good.
These settings depend on the size and color of your rug.
11. Try different blend modes until you find one that you like.

I chose Multiply. Click OK to close the Layer Style dialog box, shown in Figure 24.16.
FIGURE 24.16
Adding color and a pattern makes the texture look more rug-like.
34_584743-ch24.indd 77134_584743-ch24.indd 771 5/3/10 10:44 AM5/3/10 10:44 AM
Part VII: Working with 3D Images
772
12. Save the texture document and return to the 3D model of the rug using the tab in
the document window in Photoshop.
Leaving the texture document open gives you the capability of quickly returning to it to
make changes if you find that you don’t like the way the 3D object looks.
FIGURE 24.17
The rug is stiff as a board, but it is angled for a landing.
Note
In the interest of space and to reduce the number of steps involved, I didn’t add extra steps in creating this rug
you could very well use to make your rug look fantastic. Add a bump map to give the rug a woven texture. Add
lights to create dimension. Because the rug is a relatively flat object, I’m going to take a shortcut in the next
steps and create a drop shadow rather than using the ground plane, but you can experiment with the ground
plane to see if you can create the shadow that way.
n
Placing the flying carpet into an image
Follow these steps to create a flying carpet that any kid would want to ride on:
On the Web Site
You will find the image file you need to complete this exercise saved as Figure 24-18 on the Web site.
n
1. Open Figure 24-18 from the Web site, as shown in Figure 24.18.
This photo works great for what you want to do because it has a large, horizontal surface
2. Choose File ➪ Place.
3. Browse to the rug file you created in the last exercise, and click OK.
4. Place the rug in your image file, and scale it to fit the image.
34_584743-ch24.indd 77234_584743-ch24.indd 772 5/3/10 10:44 AM5/3/10 10:44 AM

Chapter 24: Using Photoshop Tools to Change the Appearance of a 3D Layer
773
FIGURE 24.18
This tranquil scene is about to be livened up.
5. Click the check mark in the Options bar to accept the placement.
6. If you need to make adjustments to the 3D file, such as changing the angle of the
rug, double-click the Smart Object thumbnail in the Rug layer to open the 3D file
and make those changes.
Save the changes, and return to the image document. I changed the angle of the rug, as
shown in Figure 24.19.
7. With the Rug layer highlighted, choose Edit ➪ Puppet Warp.
8. Placing pins and using the mesh, change the rug to look more like a soft fabric, as
shown in Figure 24.20.
Give it wrinkles, and make it look like it’s traveling through the air. This is a fun step, so
play around and give your rug personality!
9. Click the check mark in the Options bar to accept the changes.
Note
Notice that the Puppet Warp is added as a Smart Filter? That means that you can return and edit it whenever
you want.
n
34_584743-ch24.indd 77334_584743-ch24.indd 773 5/3/10 10:44 AM5/3/10 10:44 AM
Part VII: Working with 3D Images
774
FIGURE 24.19
It would be great if every 3D object placed looked just right, but it’s easy to change it by
opening the original file.
1. Double-click the Smart Object thumbnail in the rug layer to open the 3D object.
2. From the 3D {Lights} panel, use the Add New Light icon to add a spot light to the
rug scene.
Angle it so that it lights the rug from the same direction where the sun is shining in the

photo.
3. Save the changes, and exit the 3D file.
4. With the Rug layer highlighted, click the Layer Styles icon in the bottom of the
Layers panel and choose Drop Shadow.
5. Set the spread and size depending on the brightness of your background image.
The bright image used in this exercise creates hard shadows, so set the spread and size to
a smaller value. Hard sunlight makes hard shadows.
6. Click OK to exit the Layer Styles dialog box.
7. Right-click the Drop Shadow sublayer, and choose Create Layer.
Click OK when you are warned: “Some aspects of the Effects cannot be reproduced with
Layers!”
34_584743-ch24.indd 77434_584743-ch24.indd 774 5/3/10 10:44 AM5/3/10 10:44 AM
Chapter 24: Using Photoshop Tools to Change the Appearance of a 3D Layer
775
FIGURE 24.20
The Puppet Warp tool is a great way to give your rug the illusion of motion as well as
personality.
Adding details to complete the flying carpet composite
It’s all about the details, isn’t it? Especially in Photoshop, the details can make an okay image look
like a great composite. You can add details to the image to give it that final touch:
8. Highlight the Drop Shadow layer.
9. Inside the image, use the Move tool to drag the shadow below the rug to rest on the
lake.
10. Reduce the opacity of the shadow layer to match the opacity of other shadows in
the image.
Your final result should be similar to Figure 24.21.
Tip
Depending on the angle of sunlight in your image, you may want to rotate, scale, or even warp the shadow to
make it look more realistic. With the Drop Shadow layer selected, choose Edit ➪ Transform.
11. With the Rug layer highlighted, click the Layer Styles icon in the bottom of the

Layers panel and choose Stroke.
34_584743-ch24.indd 77534_584743-ch24.indd 775 5/3/10 10:44 AM5/3/10 10:44 AM
Part VII: Working with 3D Images
776
FIGURE 24.21
Light and shadow give the rug realistic dimension inside this image.
12. Set the size, position, blending mode, and opacity to create a solid border that out-
lines the rug.
13. Click OK to exit the Layer Style dialog box.
The steps you took to create a flying carpet follow a precise order. It’s important to transform the
rug by turning and warping it before creating the drop shadow. After the drop shadow has been
separated into its own layer, it no longer mimics the changes made to the rug. In fact, you can
make changes to the Drop Shadow layer itself.
These effects are just a sampling of several things I could have done. Play around with your file,
and see if you can add even more realism to it. As with anything else you do, balancing the amount
of time you spend with the effect you create is the key to being efficient.
Look at the Layers panel shown in Figure 24.22. You’ve created quite an array of layers. They are
well organized and easy to understand, especially after you create them yourself. Take the chance
to edit them or reorganize them if you are still not fully familiar with how they work.
34_584743-ch24.indd 77634_584743-ch24.indd 776 5/3/10 10:45 AM5/3/10 10:45 AM
Chapter 24: Using Photoshop Tools to Change the Appearance of a 3D Layer
777
FIGURE 24.22
The Layers panel shows a neat array of effects.
Giving the moon away
Now let me show you another example that uses different techniques. In this exercise, you create
cross sections and place more than one instance of an object in a file. You also place a second 3D
object in the same file. You can make a present of the moon by following the steps in the following
sections.
Create a gift box

Follow these steps to create the first part of the package perfectly wrapped for gift-giving:
On the Web Site
Find the files you need to do this exercise on the Web site. They are saved as Figure 24-23 and Figure 24-25.
n
1. Open Figure 24-23 from the Web site.
This is a PSD file of a 3D box with a lid, as shown in Figure 24.23.
2. Open the 3D {Scene} panel.
3. Change the following settings: Check Cross Section, click Flip Cross Section,
uncheck Intersection, set the offset to +12, and click Z-axis.
You should be left with the lid of the box.
4. Rename the layer Lid by right-clicking the layer and selecting Layer Properties.
5. Select File ➪ Place, browse to Figure 24.23, and click Place.
6. Click the check mark to accept Placement.
7. Double-click the thumbnail in the Figure 24-23 layer.
When you are reminded to save, click OK.
34_584743-ch24.indd 77734_584743-ch24.indd 777 5/3/10 10:45 AM5/3/10 10:45 AM