Tài iệu Photoshop cs5 by Dayley part 107 doc

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

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

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

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

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

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

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

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

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

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.

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

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!”