If you missed the recent webinar “How to edit holiday snaps with Photoshop CC” presented by Gavin Hoey or would like watch it again, then please find below the on demand – recording.
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If you missed the recent webinar “How to edit holiday snaps with Photoshop CC” presented by Gavin Hoey or would like watch it again, then please find below the on demand – recording.
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If you missed the recent webinar “How to edit your Photos with Lightroom/Photoshop and DataColor”, co-presented by Richard West of DataColour or would like watch and listen to it again, then please find below the recording.
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This is a little trick that i’ve been using recently. The problem that I had was that I needed to create a mirror image of an element on a piece of 3D art work that I am working on. For example take this 2D shape that has been created with the pen tool.
Then if it’s duplicated, by holding down the ALT key and dragging it into the new position (or by pressing CMD+J(MAC), CTRL+J(PC)), will create the same shape.
To create a mirrored shape, it needs to be flipped on the vertical. To do this, Photoshop’s free Transform tool can be used, by pressing CMD+T(Mac) / CTRL+T (PC).
To make the mirror, the width can be changed from 100% to -100%, this will flip the shape.
Now, how does that help with 3D?
Typically 3D elements in Photoshop CC are created direct from the path / shape. In this case, once the initial shape has been drawn it can be extruded. To do this, Once the layer is selected, menu item 3D / New 3D Extrusion from Selected Layer can be selected to convert the shape to a 3D shape. Because the layer is transparent, the extrusion will just be for the shape and won’t include the background.
This will create the 3D extrusion. Once 3D extrusions have been created, clicking on them until the move widget appears (once is normally enough), will give access to it’s basic properties, including an option to edit the original source document.
Once in 3D it’s simple to create a duplicate 3D object, by opening the 3D menu from the Window menu item. Selecting the main object, in this case Layer 1 (Marked in Red), then by right clicking and choosing ‘Duplicate object’. This will create a second 3D object within the same 3D environment.
When the front face of the new object is selected, the font face inflation will be selected in the 3D menu.
To get a mirror of the 3D object, it can be rotated by 180 and achieve the same effect, however, the face that will be shown to the camera is the back face.
So, the thing to do is to flip the source in the same way as the 2D shape in the initial part of this blog
Reverting back to the front inflation view of this object, then selecting it until the move widget is displayed. The basic shape properties along with the ‘Edit Source’, will be shown in the properties panel (Objects will need to be created from Photoshop CC or Illustrator CC for the source to be editable. If Illustrator files are used as a source, then ‘Edit Source’ will open up the 2D Photoshop element, the illustrator file can be accessed by double clicking on the Smart Object Layer , then the original vector can be modified).
Once this has been chosen, the original shape (as in the first section of this document) should be displayed. Following the same principles, CMD+T(Mac) or CTRL+T (PC) (to enter free transform) can be used. The original value of the width is 100%, a new value of -100% in the width parameter will mirror the shape.
This action will flip the shape on the vertical. This change can then be saved and committed to and the document closed. The 3D shape should also be updated and now be an exact mirror image of the original.
This has been very useful when creating mirrored parts of my personal Photoshop CC 3D model project (Behance – Work in Progress).Share on Facebook
The Apple Aperture to Lightroom imported is now available as a plugin, from the Adobe Add-ons site.
As promised in a blog post here, we are proud to introduce the Aperture and iPhoto import plugin for Lightroom 5. The plugin allows Aperture and iPhoto customers to migrate their images and key metadata (such as keywords, events, project structure) into Lightroom catalogs in a seamless way.
Installation: There are 2 ways to install the Aperture plugin.
Creative Cloud members – please visit the Adobe Add-ons page here and follow the instructions to install:
Note – if you are unable to install, first try restarting the Creative Cloud application. If that does not work, then please follow the instructions listed for perpetual customers below.
Lightroom 5 Perpetual Customers – please follow the manual installation instructions below.
Download link -> aperture_iphoto_importer
1. Open the Plugin
For Aperture Customers: click on File -> Plugin Extras -> Import from Aperture Library
For iPhoto Customers: Click on File -> Plugin Extras -> Import from iPhoto Library
2. Verify that the Library location is correct.
3. Click on the “Options” button to see additional Options. Here you can select the options that work best with your personal setup.
4. Hit the Import button.
The Aperture/iPhoto plug-in is expected to import the following data from an Aperture or iPhoto library into a Lightroom Catalog:
Information that is not imported into Lightroom:
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Here is a super feature that allows you to overlay and preview any type of graphical content over a photograph in Lightroom. This is a handy way to see what your final composite will look like without having to drag and drop images into the Photoshop file (or even Place/Link images within Photoshop). This powerful yet simple feature will make it really easy if you are designing any type of magazine cover, book cover etc and allow you to make those aesthetic decisions very quickly. This post will explain how to set up the graphic template in Photoshop CC, then how to overlay this on an image in Lightroom. The image below visually describes what you will be able to achieve once you have read and followed the instructions in this post.
Let us start out in Photoshop CC and make the template from some graphics. In this example there is a black banner with text in the lower 1/3 of the image, then transparency in the other 2/3 with a logo in the top left hand corner.
The logo in the top left hand corner was capture from artwork in the real world and captured using the Adobe Shape CC iPhone App (which is included as part of your Creative Cloud subscription, you just need to download and login with your Adobe ID).
The brush marks at the bottom of the image are from the Adobe Brush CC iPhone app. This brush is one of the standard ones that is available by default in the app, you can make brushes out of anything in the real world (from in front of the camera), or from the camera roll.
Once either or both of these effects have been captured with the iPhone/iPad apps (Brush CC is available on both iPad and iPhone), the artwork/content will be synchronised to the Creative Cloud Libraries, and shown in the Creative Cloud Library panel that is now available in both Illustrator CC and Photoshop CC. The Creative Cloud Libraries is a great way to consolidate many types of creative assets at a global level within the applications, making all synced assets available to the desktop(s) where you have the Creative Cloud Desktop App running. Content can also placed from Illustrator CC and Photoshop CC into the Creative Cloud library, by dragging it into the panel, this content will also be available in your other installations of the desktop apps and includes Type, Shapes, SVG objects etc. The Creative Cloud Libraries is represented by the Creative Cloud icon (marked in Red) inside both Illustrator CC and Photoshop CC. When this panel is opened, the assets are shown (marked in yellow).
The Creative Cloud Libraries panel is accesible from the menu bar, Windows / Libraries.
To use an asset of type PSD, PNG, SVG etc, just create a new canvas or open an existing PSD file, and drag the icon to the canvas. If using the brushes, then select the brush using the ‘B’ key (or from the tool bar), then paint as you would normally do (this obviously works on 3D objects as well).
The next operation is to save the PSD for reference, and to create a new PNG file, the PNG file will preserve any transparency in the document and will be used in Lightroom. To do this select the menu item File / Save As and choose PNG in the file format.
Open Lightroom and make sure that menu item View / Loupe Overlay Grid and Guides are both turned off. In the following image, the pictures that i would like to preview have been placed into a Lightroom Collection, and is called “Urban Creative”. (To create a collection, navigate to the Collection headings and click on the ‘+’ icon. This allows a new collection to be created and images to be placed into it).
If the images are not in a collection and are inside a folder, then previewing the overlay is the same. Collections just organise the images in a more logical way, as opposed to the sort order of the folder (date/time. file name etc). To show a single image in the main view (and not the grid view (as shown above)), press the ‘E key. A screen similar to the following should be displayed.
To load the PNG file that was saved from Photoshop and apply the overlay, open the menu item , View / Loupe Overlay / Choose Layout Image, then select the PNG file that was saved earlier. Previous overlays can be turned on by selecting the Recent Layout Images option.
Once the image has been chosen, the PNG will be shown and the image will show through the transparent parts of the graphic design.
Once Lightroom is in Image Overlay mode a message for ‘CMD for options will be displayed’, pressing CMD (Mac) / CTRL (Pc) at this stage will allow you to configure the transparency and matt properties of the loupe image overlay:-
To modify these values, hover over each one independently, and whilst still holding the CMD/CTRL key and holding right click on the mouse / pen right click equivalent (if using one (i.e. Surface Pro 3 pen or Wacom stylus)) at the same time, will allow the values to be increased/decreased.
When CMD / CTRL is not pressed, and the image is double clicked Lightroom will return back to the Grid view.
When the CMD / CTRL key is pressed and when
It’s also easy to reposition the loupe overlay and recompose the scene. To re-position the graphic overlay over the image and to find the best fit, hold down the CMD (Mac) / CTRL (Pc) key and grab the overlay graphics only (grabbing the image at this point might zoom the image). The cursor will change into a hand and you can now move the overlay image around (Moving the loupe around at this point will set it’s position for the next image).
I find the best way to see the image and new image overlay is to have the zoom mode in FIT mode. Make sure that the Tool Bar is off (you can toggle the toolbar using the ’T’ key), then press Shift + CMD + F (Full screen, hide panels), shown below.
It’s also easy to use the overlay image, or a different range of images, Press Shift + CMD + F (Full screen, hide panels) to show panels once again. Then select a new collection or folder. The Picture should change and show the new set of images that was selected, press Shift + CMD + F (Full screen, hide panels) and the images will be shown without the panels and toolbar.
(The models used in this post were used with permission from Leni’s models).Share on Facebook
Photoshop CC now has had even more printer profiles added to enable 3D prints to be made on even more online services.
The profiles are downloadable from the Photoshop 3D web site and It’s simple to install the profiles into your current version of Photoshop CC.
Once the file has downloaded you should either have a zip file, or a folder called ‘All Printer Profiles’. Open this folder / zip file and you will find a zip file for each printer profile.
Unzip the one that you would like to install and then open it from Photoshop CC, to do this, Open Photoshop CC and open menu item File / Scripts / Browse and select the .JSX file under within the printer profile folder
You will see a ‘Done’ message as soon has the profile has been imported.
To make sure the profiles have been installed, open a 3D model into Photoshop CC, then goto the 3D menu and choose 3D Print Settings. You should see (in this example) the i.materialise profile under the print to selector (marked in red), and under the printer a list of materials should be displayed and available for selection.
Repeat for other profiles.
If you are interested in seeing what artists are designing,making and printing from Photoshop CC, why not head over to the Photoshop Behance 3D Gallery.Share on Facebook
Creative Cloud 2014.2 update that was released at AdobeMAX introduced lots of enhancements to the Creative Cloud desktop apps, as well as the introduction of new tablet applications, all of which enable the Creative user to extend their creative identity and to create content on a mobile device. Photoshop CC 2014.2 had some amazing enhancements, with the inclusion of the ability to import Collada models and to play back the animation on the Photoshop timeline. To create the rigging and animation, there are special tools, like Cinema 4D (as one example). Rigging can be quite time consuming, to support this new feature, Adobe have also partnered with a company called Mixamo. The Mixamo service has been designed to allow anyone to automatically rig and animate a model and then bring this into Photoshop as an animated Collada file.
Mixamo can be found at Mixamo.com.
Let us focus on rigging a character that already exists in Mixamo, its a fast and reliable way to have a fully animated rigged model. Before you do anything, you might want to create a new account to get started.
Rigging of a character in Mixamo can be found under the Create menu and selecting Character Collection at the top of the screen.
Lots of standard rigged models will be displayed and are selectable for animation.
Once you have chosen a model from the huge selection that Mixamo provides, then the model will be shown in the animation grid, at this point various pre-built animations can be selected for a wide range of actions. Before any animations can be added you will see the starting animation screen. this is show the initial model, and in this case, no animations have been applied, so nothing will happen.
Once a new animation is selected, the right hand screen will turn into a search panel, this can be used to find a pre-built animation. Words like walk, jump, attack etc can be used to filter the list.
In the following screen shot, the keyword fall has been used and a range of different animations are shown. If you hover over the thumbnail, the animation will play on the canned charter, to give an idea of the movement.In the following example, 5 animations have been selected.
Each animation can be customised by using the right hand panel, once the animation has been selected.
Once the animations have been added (in the screen shot below, a few have been added for the animation that is required), the file can be paid for and downloaded in the required formation, for Photoshop DAE will need to be used for the animation to be supported. The beauty of this system is that you just pay for the animations that have been applied to the model.
The system will keep previous animations for you on your account, ready for download. Also this panel is useful to specify the quality of the textures, as well as other model properties for the download. At the bottom of the screen, an output format will need to be selected( for Photoshop Collada will need to be selected).
Once downloaded the object and materials will be stored as a DAE file as well as associated model textures. At this point, the DAE file can be logged into Photoshop CC 2014.2.
once the file is loaded into Photoshop, the new canvas dialog will be shown.
Once the file has been loaded, the timeline panel will open and the model will be displayed on the canvas. At this point, the space bar or the play icon on the time line can be selected.
To see the final animation, you can play the following video (there is no music to the video, but it’s not very long).
Today Adobe released Photoshop CC 2014.2, this post covers the updates to this amazing release, there will be upcoming posts covering some of the items in much more detail.
Creative Cloud Libraries
This new addition to the Creative Cloud will allow you to download graphics from the Adobe Market and have them available to inside both Illustrator and Photoshop. The Libraries panel also allows you to add fonts, graphics, PSD’s, colours etc all within the Photoshop and Illustrators. Any content here will be synced automatically to your Creative Cloud storage area. This feature is a wonderful enhancement if you have ever wanted to have a global set of favourites to your workflow. Of course you can create new libraries at any time to organise your content based on your preference
New Welcome screen
Have you ever wanted to learn new features and techniques straight from within Photoshop? The new welcome screen will present videos to you based on the activities and features that you use.
There is a new menu option called Extract Assets, this option is available under the File menu. The primary use for Extract is to pull assets from the PSD comp, especially usefull for Web designers.
The new guides feature enables new guides to be created from existing shapes on the canvas, or the ability to create new guides from a template that can be designed on the fly.
New Guides from Shape is available from the View menu option
If all layers are selected, then associated shapes will be included.
If just one is selected, then the menu item will create guides from just that one
New Guides Layout is available from the View menu option
The experimental touch features have now moved into the main line and will be enabled for touch based systems. This includes the Microsoft Surface Pro 3.
Photoshop now has the ability to read COLLADA rigged and animation data. This feature is available on the timeline, it allows you to pose the model at a certain point, then print it. This feature will be covered in more detailed in a later post.
Photoshop CC also supports the option to export 3D PDF’s. The Export 3D PDF option is available from the 3D menu. Selecting this option will output a PDF with all of the 3D PDF controls enabled.
The Focus Area feature has had a performance boost, which is down to the Mercury Graphics Engine
Other feature improvements and JDIs
Scripted patterns have been moved to the Filter menu (Filter / Render / ). The different options have the same names as before Flame, Tree and Picture Frame.
The Flame option is a new addition and allows you to create a flame on a path or multiple paths..
Fill and Fill Path
Both of these options have had the UI improved.
Default Settings for Layer Styles
So that Photoshop CC makes objects more realistic and modern, default values for Layer Styles have been changed to be more conservative. This will give you a great look of elements like drop shadow out of the box.
Updated and new document presets and default document size
Mobile app design
Film & Video
You can find the new and updated patterns under Layer Styles.
Holding the CMD (Mac) /CTRL (Pc) with Move tool selected toggles Auto-Select for objects on the canvas
Locking and unlocking layers shortcut keys have been added
New menu item to collapse all Layer Groups.
Save operation now recorded in the History panel
New Preference to enabling overscrolling
This feature allows you to scroll past the usual borders of an image when it’s in full view.
Overscroll = OFF
Overscroll = ON, the additional scroll bars are shown in red below.
Improved display of Properties panel for Live Shapes
Added transparency support for copy/paste from Photoshop to other applications (Mac only)
New edge padding option for Select > Modify commands
This option allows you to choose if the selection modification will go outside of the canvas edge or not. There is now a check box controller on each of the participating options under the Select /Modify option. The check box is turned off by default.
Adobe Color panel (formerly Kuler) is now included with the shipping version
Size of the Preferences, Keyboard Shortcuts and Menus dialogs have been adjusted to fit wide-screensShare on Facebook
Adobe Photoshop CC is a well-known, best in class solution for designers and artists in their 2D work. Photoshop touches every element of the creative process, and is used world over for everything from photograph retouching, image compositing, finishing 3D models created in traditional 3D software applications, as well as digital art work and web site design. Photoshop CC includes a 3D component, which can be used for importing 3D models, creating 3D models from a variety of 2D tools, and since January 2014 includes ability to make watertight 3D printable object and print.
3D capabilities were introduced in Photoshop in CS3, and in CS6 the Photoshop 3D engine was enhanced to include more robust technology foundation to address modern expectations, as well as a more intuitive way for Photoshop professionals to work in 3D.
When Adobe released Creative Cloud, a market shift in the 3D printing world was starting to happen. Desktop 3D printing began to explode and initiatives like Rep Rap and companies like Makerbot were growing in popularity – they had found a way to bring this technology to the desktop of the creative or the home user. At the same time, service bureaus like Shapeways, Sculpteo and others were growing with requests from creative professionals, but experiencing a large number of models that needed additional work to allow them to be printed, or in the extreme case, were not printable and had to be sent back to the designer.
Over the last few years, there have been amazing advancements in innovation, both in the hardware and in materials used in 3D printing. However, the software tools that enable 3D printing had not advanced in the same way and, in particular, weren’t meeting the expectations of a new breed of customer, namely the creative professional. Advancements in the 3D printing industry are moving at a rapid pace, and as the creative professional becomes fully engaged at the start of the process; the demand for full colour 3D printing is growing. The industry already has some full colour capable printers i.e. the ZCORP full colour sandstone printer, the MCOR paper based printer, and more recently the Connex 3 full colour plastic printer from Stratasys. Still, ensuring amazing colour results on these printers can be difficult.
Adobe had seen this type of issue before. Prior to 1982, printing anything other than text on paper was a challenging and expensive task – specialist companies were needed to print graphics and artwork. In 1982 Adobe released PostScript, which revolutionised the printing industry and allowed anyone to print visually rich documents reliably to a wide range of devices and technologies whilst maintaining the high quality and performance.
In 1993 Adobe Systems released the Portable Document Format (PDF), which is now an open standard for electronic document exchange maintained by the International Organization for Standardisation (ISO). The beauty of the PDF format is that when a document is converted to PDF, they look just like they would if printed. But unlike printed documents, PDF files can contain clickable links and buttons, form fields, video, and audio — as well as logic to help automate routine business processes. When you share a PDF file, virtually anyone can read it using free Adobe Reader® software or the Adobe Reader mobile app.
As of January 2014, the 3D printing challenge was the same as the paper printing problem back in 1982, especially for the creative professional. So much is possible, but achieving high-quality results requires specialised knowledge and time to get a 3D designs in a state that they are ready to print. In January 2014 Adobe released Photoshop CC with a built-in 3D printing engine, with the objective to make 3D printing as easy as printing in 2D, trying to replicate CTRL+P for 3D print. Also, with an industry that is innovating as fast as the 3D printing industry is, having an application delivery model like the Creative Cloud, to bring new technology, features and software updates to the subscriber is a requirement to keep pace with the activity and advancements in the industry. This approach to software delivery enables the creative professionals around the world to keep up with and exceeds their client and customer demands, as well as bringing their designs to life.
The primary objective for including 3D Printing in Photoshop and enabling a CTRL+P for 3D print, is to make the model preparation easy and provide an automated approach to model repair. Just to highlight a few of the elements that need to be validated with a 3D model before it can be printed: –
All of this needs to be worked out before a successful print can be made. Unless these criteria have been met, it may take numerous attempts to achieve in a fully printable model.
The Photoshop platform has a unique way of solving complex problems with an intuitive interface, powerful and elegant controls and a philosophy for simplying the creative process. The 3D printing engine inside Photoshop has been created to support printer profiles (similar to the way that 2D printer drivers), which describe the specific printer and material attributes. Once a model is loaded into Photoshop CC, it can then be processed and fixed with the Photoshop 3D printing pipeline and an output file created. Each printer and material combination may have a specific file type that is needed for a print. I.e. some printers need just an STL file, whilst colour printers might require a VRML or a WRL file. Photoshop CC is able to create the exact file type that the printer requires to correctly build the model and hold any additional information (like colour and textures).
One of the main reasons that Photoshop is used the world over, is the full colour engine in combination with the powerful 2D imaging and editing tools and brushes. These powerful 2D tools can be used directly on your 3D models or on the unwrapped mesh to paint, repair textures and make your models look even more amazing. Photoshop CC comes with full colour profiles for the ZCorp and MCOR printers, as well as the full colour printers available with the Sculpteo and Shapeways service.
At the London leg of the 3D Printshow, Adobe showcased some experimental technology that its scientists are working on in the lab. This experimental project has the ability to enable the artists to paint in continuous full colour using the brushes as well as the other tools, including colour gradients and output to the Stratasys Connex 3.
The 3D Printing industry is moving and innovating extremely quickly, especially in the areas of hardware and materials. With the emergence and growing requirements of full colour, as well as a growing and accessible range of content for personalization, Photoshop CC is one of the best tools to load your models, paint and personalise them using the familiar Photoshop user experience and make them looking even more amazing.
The video accompanying this article shows how a model can be imported into Photoshop CC, then printed to a local desktop printer, output as a standard STL file, but also print to a Shapeways or Sculpteo service.