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
Sprache
Verlagsort
Verlagsgruppe
Zielgruppe
Maße
Höhe: 230 mm
Breite: 192 mm
Dicke: 11 mm
Gewicht
ISBN-13
978-0-321-95655-2 (9780321956552)
Schweitzer Klassifikation
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
