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This Guide to all things 3D in Adobe Photoshop will have you creating models and scenes in no time! Filled with rich imagery and fun tutorials, the project-based chapters within build your knowledge of important 3D concepts and show you what is possible in Photoshop. You'll discover ways to push your creative ambitions forward and create eye-catching 3D artwork. The author's companion website, 3DPhotoshop.net, offers downloadable objects and artwork so you can work through the techniques in the book."Steve Caplin has an incredible depth of knowledge with all of Photoshop. He has been working with the 3D tools from the start and is one of the few experts who understands how to leverage the 3D capabilities" - Zorana Gee, Adobe Photoshop Senior Product Manager
Contents
Foreword. . . . . . . . . . . . . . . . . . . . . . . . . . . iiiAbout this book. . . . . . . . . . . . . . . . . . . . . . . 1Introduction. . . . . . . . . . . . . . . . . . . . . . . . . 2Part one: Making 3D objects. . . . . . . . . . . . . . . . 51 Making and moving a 3D object. . . . . . . . . . . . 7Turning the text into 3D. . . . . . . . . . . . . . . . . . . . . . . . . . 8The Secondary View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Moving the 3D world. . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Moving 3D objects around. . . . . . . . . . . . . . . . . . . . . . . 12Rotating 3D objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Moving using the 3D axis. . . . . . . . . . . . . . . . . . . . . . . . 15Getting back to where you started. . . . . . . . . . . . . . . . 162 Shaping and editing a 3D object. . . . . . . . . . . 17Tapering, bending and twisting. . . . . . . . . . . . . . . . . . . 18Distorting in combination . . . . . . . . . . . . . . . . . . . . . . . 20Distortion with numerical accuracy. . . . . . . . . . . . . . . 21If the cap fits.... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Turning on the bevel. . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Editing the source. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Editing the contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263 Revolving a 3D object. . . . . . . . . . . . . . . . . . . 27Turning the extrusion into a revolve . . . . . . . . . . . . . . 28Using the Pen tool for more control. . . . . . . . . . . . . . . 30Reshaping revolved shapes. . . . . . . . . . . . . . . . . . . . . . 32Refining the shape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344 Inflating objects from photographs. . . . . . . . 35Save a preset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Applying the preset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39Double-sided inflation . . . . . . . . . . . . . . . . . . . . . . . . . . 40Completing the effect. . . . . . . . . . . . . . . . . . . . . . . . . . . 42Fixing the texture on the model. . . . . . . . . . . . . . . . . . 44Correcting highlights. . . . . . . . . . . . . . . . . . . . . . . . . . . . 453D inflation from scratch. . . . . . . . . . . . . . . . . . . . . . . . 46Objects you can't inflate. . . . . . . . . . . . . . . . . . . . . . . . . 485 3D postcards . . . . . . . . . . . . . . . . . . . . . . . . . 49Manipulating the postcard. . . . . . . . . . . . . . . . . . . . . . . 50Editing the Smart Object . . . . . . . . . . . . . . . . . . . . . . . . 526 3D presets. . . . . . . . . . . . . . . . . . . . . . . . . . . 53Basic primitives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54Complex presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55Not-so primitive bottle. . . . . . . . . . . . . . . . . . . . . . . . . . 56Wrapping textures round cubes. . . . . . . . . . . . . . . . . . 58Adding textures round other presets. . . . . . . . . . . . . . 607 Other creation tools. . . . . . . . . . . . . . . . . . . . 61The Depth Map mesh. . . . . . . . . . . . . . . . . . . . . . . . . . . 62Smoothing the mesh. . . . . . . . . . . . . . . . . . . . . . . . . . . .63Cylinders from depth maps. . . . . . . . . . . . . . . . . . . . . . 64Texture and color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66Build your own planet . . . . . . . . . . . . . . . . . . . . . . . . . . 68Adjusting the contrast . . . . . . . . . . . . . . . . . . . . . . . . . . 70Spherical panoramas. . . . . . . . . . . . . . . . . . . . . . . . . . . 723D from Vanishing Point . . . . . . . . . . . . . . . . . . . . . . . . 74The problem with 3D volume . . . . . . . . . . . . . . . . . . . . 768 Importing 3D objects. . . . . . . . . . . . . . . . . . . 77NASA comes to town. . . . . . . . . . . . . . . . . . . . . . . . . . . .78Google 3D warehouse . . . . . . . . . . . . . . . . . . . . . . . . . . 80Daz Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82Daz Studio issues. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84The multiple object problem. . . . . . . . . . . . . . . . . . . . . 86The benefit of multiple objects. . . . . . . . . . . . . . . . . . . 88Models with insides. . . . . . . . . . . . . . . . . . . . . . . . . . . . .90Correcting mismatch errors. . . . . . . . . . . . . . . . . . . . . . 92When models go bad. . . . . . . . . . . . . . . . . . . . . . . . . . . 96Part two: Lighting and materials. . . . . . . . . . 999 Rendering. . . . . . . . . . . . . . . . . . . . . . . . . . . 101The render process. . . . . . . . . . . . . . . . . . . . . . . . . . . . 102Three kinds of shadow. . . . . . . . . . . . . . . . . . . . . . . . . 104Render modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106Depth of field. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108Partial renders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11010 Lighting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111Basic lighting controls. . . . . . . . . . . . . . . . . . . . . . . . . . 112Working with multiple lights . . . . . . . . . . . . . . . . . . . . 114A splash of color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115Lighting presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116Point lights. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118Spot lights. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120Shadows. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122Special effects with shadows. . . . . . . . . . . . . . . . . . . . 12411 Placing materials. . . . . . . . . . . . . . . . . . . . . 125Coloring 3D objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . 130Creating a material from scratch . . . . . . . . . . . . . . . . 131Painting on 3D objects. . . . . . . . . . . . . . . . . . . . . . . . . 132Applying an photographic material . . . . . . . . . . . . . . 134Applying preset materials . . . . . . . . . . . . . . . . . . . . . . 136Material presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138Material surface properties. . . . . . . . . . . . . . . . . . . . . 140Material limitations. . . . . . . . . . . . . . . . . . . . . . . . . . . . 142Applying multiple textures. . . . . . . . . . . . . . . . . . . . . . 144Editing materials in placed objects. . . . . . . . . . . . . . . 146Editing materials in created objects. . . . . . . . . . . . . . 152Painting materials from scratch . . . . . . . . . . . . . . . . . 1583D Painting methods . . . . . . . . . . . . . . . . . . . . . . . . . . 160Painting bump textures. . . . . . . . . . . . . . . . . . . . . . . . 161Painting transparency . . . . . . . . . . . . . . . . . . . . . . . . . 162Painting on material windows. . . . . . . . . . . . . . . . . . . 164Painting on complex surfaces. . . . . . . . . . . . . . . . . . . 166Other painting modes. . . . . . . . . . . . . . . . . . . . . . . . . .168Part three: Bulding 3D scenes. . . . . . . . . . . . . 16912 Multiple objects. . . . . . . . . . . . . . . . . . . . . . 171Creating and combining. . . . . . . . . . . . . . . . . . . . . . . . 172Manipulating objects in a scene. . . . . . . . . . . . . . . . . 176Duplicating objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . 178Instancing objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180De-instancing objects. . . . . . . . . . . . . . . . . . . . . . . . . . 18213 Refraction, reflection and transparency. . . . 183Creating transparency . . . . . . . . . . . . . . . . . . . . . . . . . 184Refraction by shape and number. . . . . . . . . . . . . . . . 188Reflections on the ground. . . . . . . . . . . . . . . . . . . . . . 190Reflection between objects. . . . . . . . . . . . . . . . . . . . . 192Image-Based Lighting. . . . . . . . . . . . . . . . . . . . . . . . . . 194Painting Image-Based Lights. . . . . . . . . . . . . . . . . . . . 19614 Combining models with photographs. . . . . 197Interaction: moving the model back. . . . . . . . . . . . . . 198Interaction with Layer Masks. . . . . . . . . . . . . . . . . . . . 200Interaction with cross sections. . . . . . . . . . . . . . . . . . 202Offsetting cross sections . . . . . . . . . . . . . . . . . . . . . . . 206Integrating models into the scene . . . . . . . . . . . . . . . 2083D alignment with Vanishing Point. . . . . . . . . . . . . . . 212Refracting the background . . . . . . . . . . . . . . . . . . . . . 218Part four: Special projects. . . . . . . . . . . . . . . 22315 More techniques. . . . . . . . . . . . . . . . . . . . . 225Making it move . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226Book building. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228Dancing the twist. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232Filling a wine glass. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236Complex material matching. . . . . . . . . . . . . . . . . . . . .238Simulating multiple objects. . . . . . . . . . . . . . . . . . . . . 242Divide and rule. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
