3D Photoshop Imagine. Model. Create.

 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

Steve Caplin is a London-based illustrator, author, and journalist. He creates satirical photomontage illustrations for newspapers and magazines and lectures widely on Photoshop and digital imaging. His bestselling books include How to Cheat in Photoshop: The art of creating realistic photomontages, now in its seventh edition, 100% Photoshop: Create stunning artwork without using any photographs, and Be the Coolest Dad on the Block: All of the Tricks, Games, Puzzles and Jokes You Need to Impress Your Kids. He recently launched the 3D printing website 3DGeni.us, which aims to demystify and explain the 3D printing.

Foreword. . . . . . . . . . . . . . . . . . . . . . . . . . . iii

About this book. . . . . . . . . . . . . . . . . . . . . . . 1

Introduction. . . . . . . . . . . . . . . . . . . . . . . . . 2

Part one: Making 3D objects. . . . . . . . . . . . . . . . 5

1 Making and moving a 3D object. . . . . . . . . . . . 7

Turning the text into 3D. . . . . . . . . . . . . . . . . . . . . . . . . . 8

The Secondary View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Moving the 3D world. . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Moving 3D objects around. . . . . . . . . . . . . . . . . . . . . . . 12

Rotating 3D objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Moving using the 3D axis. . . . . . . . . . . . . . . . . . . . . . . . 15

Getting back to where you started. . . . . . . . . . . . . . . . 16

2 Shaping and editing a 3D object. . . . . . . . . . . 17

Tapering, bending and twisting. . . . . . . . . . . . . . . . . . . 18

Distorting in combination . . . . . . . . . . . . . . . . . . . . . . . 20

Distortion with numerical accuracy. . . . . . . . . . . . . . . 21

If the cap fits…. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Turning on the bevel. . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Editing the source. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Editing the contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

3 Revolving a 3D object. . . . . . . . . . . . . . . . . . . 27

Turning the extrusion into a revolve . . . . . . . . . . . . . . 28

Using the Pen tool for more control. . . . . . . . . . . . . . . 30

Reshaping revolved shapes. . . . . . . . . . . . . . . . . . . . . . 32

Refining the shape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

4 Inflating objects from photographs. . . . . . . . 35

Save a preset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Applying the preset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Double-sided inflation . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Completing the effect. . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Fixing the texture on the model. . . . . . . . . . . . . . . . . . 44

Correcting highlights. . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

3D inflation from scratch. . . . . . . . . . . . . . . . . . . . . . . . 46

Objects you can’t inflate. . . . . . . . . . . . . . . . . . . . . . . . . 48

5 3D postcards . . . . . . . . . . . . . . . . . . . . . . . . . 49

Manipulating the postcard. . . . . . . . . . . . . . . . . . . . . . . 50

Editing the Smart Object . . . . . . . . . . . . . . . . . . . . . . . . 52

6 3D presets. . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Basic primitives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Complex presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Not-so primitive bottle. . . . . . . . . . . . . . . . . . . . . . . . . . 56

Wrapping textures round cubes. . . . . . . . . . . . . . . . . . 58

Adding textures round other presets. . . . . . . . . . . . . . 60

7 Other creation tools. . . . . . . . . . . . . . . . . . . . 61

The Depth Map mesh. . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Smoothing the mesh. . . . . . . . . . . . . . . . . . . . . . . . . . . .63

Cylinders from depth maps. . . . . . . . . . . . . . . . . . . . . . 64

Texture and color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Build your own planet . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Adjusting the contrast . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Spherical panoramas. . . . . . . . . . . . . . . . . . . . . . . . . . . 72

3D from Vanishing Point . . . . . . . . . . . . . . . . . . . . . . . . 74

The problem with 3D volume . . . . . . . . . . . . . . . . . . . . 76

8 Importing 3D objects. . . . . . . . . . . . . . . . . . . 77

NASA comes to town. . . . . . . . . . . . . . . . . . . . . . . . . . . .78

Google 3D warehouse . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Daz Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Daz Studio issues. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

The multiple object problem. . . . . . . . . . . . . . . . . . . . . 86

The benefit of multiple objects. . . . . . . . . . . . . . . . . . . 88

Models with insides. . . . . . . . . . . . . . . . . . . . . . . . . . . . .90

Correcting mismatch errors. . . . . . . . . . . . . . . . . . . . . . 92

When models go bad. . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Part two: Lighting and materials. . . . . . . . . . 99

9 Rendering. . . . . . . . . . . . . . . . . . . . . . . . . . . 101

The render process. . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Three kinds of shadow. . . . . . . . . . . . . . . . . . . . . . . . . 104

Render modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Depth of field. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Partial renders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

10 Lighting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Basic lighting controls. . . . . . . . . . . . . . . . . . . . . . . . . . 112

Working with multiple lights . . . . . . . . . . . . . . . . . . . . 114

A splash of color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Lighting presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Point lights. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Spot lights. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Shadows. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Special effects with shadows. . . . . . . . . . . . . . . . . . . . 124

11 Placing materials. . . . . . . . . . . . . . . . . . . . . 125

Coloring 3D objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Creating a material from scratch . . . . . . . . . . . . . . . . 131

Painting on 3D objects. . . . . . . . . . . . . . . . . . . . . . . . . 132

Applying an photographic material . . . . . . . . . . . . . . 134

Applying preset materials . . . . . . . . . . . . . . . . . . . . . . 136

Material presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Material surface properties. . . . . . . . . . . . . . . . . . . . . 140

Material limitations. . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Applying multiple textures. . . . . . . . . . . . . . . . . . . . . . 144

Editing materials in placed objects. . . . . . . . . . . . . . . 146

Editing materials in created objects. . . . . . . . . . . . . . 152

Painting materials from scratch . . . . . . . . . . . . . . . . . 158

3D Painting methods . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Painting bump textures. . . . . . . . . . . . . . . . . . . . . . . . 161

Painting transparency . . . . . . . . . . . . . . . . . . . . . . . . . 162

Painting on material windows. . . . . . . . . . . . . . . . . . . 164

Painting on complex surfaces. . . . . . . . . . . . . . . . . . . 166

Other painting modes. . . . . . . . . . . . . . . . . . . . . . . . . .168

Part three: Bulding 3D scenes. . . . . . . . . . . . . 169

12 Multiple objects. . . . . . . . . . . . . . . . . . . . . . 171

Creating and combining. . . . . . . . . . . . . . . . . . . . . . . . 172

Manipulating objects in a scene. . . . . . . . . . . . . . . . . 176

Duplicating objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Instancing objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

De-instancing objects. . . . . . . . . . . . . . . . . . . . . . . . . . 182

13 Refraction, reflection and transparency. . . . 183

Creating transparency . . . . . . . . . . . . . . . . . . . . . . . . . 184

Refraction by shape and number. . . . . . . . . . . . . . . . 188

Reflections on the ground. . . . . . . . . . . . . . . . . . . . . . 190

Reflection between objects. . . . . . . . . . . . . . . . . . . . . 192

Image-Based Lighting. . . . . . . . . . . . . . . . . . . . . . . . . . 194

Painting Image-Based Lights. . . . . . . . . . . . . . . . . . . . 196

14 Combining models with photographs. . . . . 197

Interaction: moving the model back. . . . . . . . . . . . . . 198

Interaction with Layer Masks. . . . . . . . . . . . . . . . . . . . 200

Interaction with cross sections. . . . . . . . . . . . . . . . . . 202

Offsetting cross sections . . . . . . . . . . . . . . . . . . . . . . . 206

Integrating models into the scene . . . . . . . . . . . . . . . 208

3D alignment with Vanishing Point. . . . . . . . . . . . . . . 212

Refracting the background . . . . . . . . . . . . . . . . . . . . . 218

Part four: Special projects. . . . . . . . . . . . . . . 223

15 More techniques. . . . . . . . . . . . . . . . . . . . . 225

Making it move . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Book building. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Dancing the twist. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232

Filling a wine glass. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Complex material matching. . . . . . . . . . . . . . . . . . . . .238

Simulating multiple objects. . . . . . . . . . . . . . . . . . . . . 242

Divide and rule. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

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