Adobe Max 2014 Mobile App Now Available

Are you heading to Adobe Max 2014 ? If you so, then you may want to arm yourself with the Max Conference Guide Mobile App, available at an app store near you!

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Adobe Talk at the Paris 3D Printshow

This talk at the Paris 3D Printshow will explain why are customers are using Photoshop as part of their 3D print workflow and will identify the areas of the pipeline that Photoshop streamlines.

3DPrintshow Paris



Try Photoshop CC

Buy the Photography Plan

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#CreativeFriday – Creating 3D LUT’s in Photoshop for Video Grading and Image Enhancement

One of my favourite and a really powerful new features in Photoshop CC 2014, is the ability to create a 3D LUT file by using just Photoshop Adjustment layers.

So, why is this so exciting?

Well, if you are making videos in Premiere Pro or even Photoshop, you might want to make it look more engaging and dramatic. Typically when videographers shoot video they prefer to shoot RAW, or flat (both small video cameras,  DSLR’s or larger formats). This means that there is likely to be no contrast to the output. To add contrast or colour to the footage it will be graded, typically using something like Speed grade. In Photoshop terms it’s similar to making adjustments using adjustment layers.

DSLR film makers might come from a photographic background and may be required to shoot stills as well as video. A photographer may also know Lightroom or Photoshop, and maybe learning Premiere Pro to edit video. In some cases the photographer may want to utilise their Photoshop skills rather than learning colour grading software to make the film look amazing, but also might to make the stills and video look the same across the relevant parts of the film.

Let us take this short clip in Premiere Pro.

Screen Shot 2014-09-18 at 21.58.20

Screen Shot 2014-09-18 at 21.58.43

To allow Photoshop to perform it’s magic, we just need to grab a frame from the film/clip. Just position the play head to the right place on the clip (i’ve just used the first frame in this case), then click the ‘take snapshot’ icon (marked red). Save the JPG (or different file format) to a location that you’ll remember when you put it.

Screen Shot 2014-09-18 at 21.58.43

Now open the JPG inside Photoshop.

Notice that the layer is named ‘Background’, this is important for this function, as it will need a background base to create the LUT reference file.

Screen Shot 2014-09-18 at 22.04.19

Now we can use any of the adjustment layers to give the image the final effect.

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Now we can just export the LUT file using the Menu item / Export / Color Lookup Tables.

Screen Shot 2014-09-18 at 22.08.44

The 3D LUT definition and output format screen will be displayed. You can de-select/select the formats that you need from here.

Screen Shot 2014-09-18 at 22.11.17

The files will be exported as separate files, so i’ve just created a folder to store the LUT files in.

Screen Shot 2014-09-18 at 22.11.30

Back in Premiere Pro, we will just add a simple adjustment layer from within the project panel. To create the adjustment layer click the button marked in red, then choose Adjustment layer (marked yellow).

Screen Shot 2014-09-18 at 22.18.04

Drag the adjustment layer (marked yellow) into the timeline, above the clip (marked pink). The duration of the adjustment layer may need to be changed by dragging the end points, or by moving the adjustment to another place.

Screen Shot 2014-09-18 at 22.18.28

Navigate over to the Effects panel and choose Lumetri (marked red), and drag this to the adjustment layer in the time line (marked yellow), then select the LUT file (they all create the same effect).

Screen Shot 2014-09-18 at 22.18.39

You will see the effect applied to the clip in the program monitor (this assumes that the adjustment layer is over the playhead),

Screen Shot 2014-09-18 at 22.18.57

Now, let us go back to Photoshop and apply the same LUT file to another part of the clip.

Screen Shot 2014-09-18 at 22.33.46

Then once you have the LUT dialog screen open, select the same LUT file as used in Premiere Pro (that was created in Photoshop earlier)


You can see that once the LUT file has been selected, the results are shown on the image.

Screen Shot 2014-09-18 at 22.36.48

The benefit of a LUT file is it’s portability, which means that if you need to share it with someone, you can without having to send the PSD file that it came from. However, the effects might be different dependent on what the LUT is trying to do.

How do I used LUT files?

I recently created a specific look for a series of images, rather than copy all adjustments across to each image, I created a LUT file from Photoshop and added this as an adjustment layer (Photoshop Menu / Layer / New Adjustment Layer / Colour Lookup).

Related posts

#CreativeFriday – New Updates and more to Photoshop CC 2014 release

Adding a 3D LUT or colour lookup table for toning to your image. No 2

WEEK 90 – Adobe Photoshop CS6: Color Lookup 3DLUT SpeedGrade


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MAXON Cinema4D London Training day 2014


The MAXON CINEMA 4D UK Training Day 2014 is set to be a fantastic learning and networking experience, with five one-hour sessions from industry-leading CINEMA 4D artists.

Being about CINEMA 4D, Maxon are hosting the event at the Cineworld cinema Haymarket. Maxon have reserved their biggest screen, with seating for up to 440 people.

Each talk will assume basic CINEMA 4D knowledge, i.e. talks are not really suitable for beginners. If you are a beginner, please see Maxon’s excellent ‘Introduction to CINEMA 4D‘ course.

Maxon have confirmed the following speakers:-
Greyscalegorilla founder Nick Campbell (, Nick will be doing two talks at this event.
After Effects legend Angie Taylor (
Heather Davies, Software Trainer, MAXON UK
Training Courses at MAXON UK

Don’t forget to book early to guarantee your place and pick up the popcorn! For pricing and registration, head over to the Maxon shop.

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#CreativeFriday – Using Photoshop’s Cross Section tool to split a single mesh

Sometimes you will open a 3D model that is a single mesh into Photoshop, this might be due to the way that it was designed or the way that i was exported from a 3D package (STL files are single meshes).  For some work you might want to work on individual components of the model and break it down (e.g. painting, texturing etc. Multiple meshes will give you more control of the texture UV maps and the ability to paint or add colour at specific sections of the mesh). Inside Photoshop CC on the 3D layer there is a cross section tool, available on any scene’s Properties panel. This tool will allow you to split a mesh on the X,Y or Z axis on a straight plane. This tool will essentially create a new mesh with a new UV map for each.

The following example will walk you through how to split a mesh, or in other words, how to take a single mesh and divide it into many meshes.

Take this 3D model of a pair of sun glasses frames. It may be required that individual components like the arms and the front of the frames need enhancing in different ways (e.g. painting, texturing etc or even printing as separate parts, for assembly later).

Each 3D object has a 3D menu that will give you access to different elements of the model in Photoshop.

Screen Shot 2014-09-06 at 01.53.43


Each model will have a UV map, UV maps can be opened by clicking on the individual element(s), under the diffuse layer on the  models Layer properties panel. In this case there is only 1 UV map. If the model does not have a UV map, then you can create on by selecting the menu option 3D / Generate UV’s.

Screen Shot 2014-09-06 at 02.02.45

something similar to the the following 2D image will be displayed. This example shows the un-wrapped geometry . In this example, would be difficult to manage and enhance individual components. Ideally, a single UV map for each critical part might be a better way to work, it will also provide a higher resolution (especially when textures are involved, as you will see later on the body scan).

Screen Shot 2014-09-06 at 02.02.48

To do this, take the single mesh and use Photoshop to be split it into three. Let us first take off the front of the frames on this model. The fastest way to is to position the model for the cross section, in this case, use the secondary view (marked yellow), and use the top view (it will be easier in this case to line everything using the top section, but other views are available if required as this depend on the model and how it needs to be split). Models can also be moved around on the main canvas by using the 3 icons (bottom left of the main canvas, just above the axis controler. This view can be moved into the main canvas, by clicking on the transfer icon (top right) within the secondary view (marked yellow). If this view is not available in your Photoshop instance, then it maybe turned off, to turn it on, navigate to the View menu item/ Show / 3D Secondary view and select it.

Screen Shot 2014-09-06 at 01.53.43


once the new view has been loaded, navigate to the 3D menu panel / Scene (marked Yellow), then head over to the scene properties.

To see the cross section (marked red), check the ‘cross section’ option. The cross section will be shown on the main canvas using a plane by default. The visibility of the plane can be controlled using the opacity and visibility check boxes within this panel. The cross section can be moved on the X/Y and Z axis, as well as the ability to tilt on the X or Z axis (marked in purple below). Once the cross section is in the right place, the  ‘apply the cross section’ button (marked in red below) can be pressed to split the mesh.


Screen Shot 2014-09-06 at 01.55.21

The new mesh is created (the front of the frames in this case), and the arms are hidden from view. The new mesh has been created in the 3D panel, and is automatically turned off from the display.

Note. Once the first cross section has been applied, I would recommend that the model parts are not moved, unless you would like to print or represent them as separate elements.

Screen Shot 2014-09-09 at 23.07.36

In this example, I would like to have the arms as independent meshes as well, To do this, the front of the frames need to be moved to once of the sides of the new cross section, other wise it may get caught up in the cross section and be split as well. The Objects can be moved by clicking on the them and showing the cage, then using the arrow to move the object around the scene. The cross section can be turned on and orientated to which ever axis suits the cut, then placed into position using the options in the properties panel (marked yellow) of the 3D menu item / scene. The icon marked in green is used to switch the cross section view to the opposite side.


Screen Shot 2014-09-09 at 23.12.41_2

Splitting the mesh(s) will create multiple diffuse maps under the 3D object in the Layers panel, under the diffuse section. This process should create a new UV for each element. However, if you need to change the resolution of the UV map, or re-create them, then it may be advisable to re-generate the UV’s (this option is available under the 3D menu / Generate UV’s).

The configuration dialog box that will be shown allows you to generate a different resolution textures, all the way to 4096 (the highest resolution). This size of resolution is the best for fixing textures, especially from 3D scans.
When checked :-

  • Merge Materials – Will merge materials on each mesh to be a single material
  • Preserve Appearance – If a material already exists on the mesh, it won’t be removed during the UV generation.

You will need to play with the options to get the best result from your files.

Screen Shot 2014-09-09 at 23.12.41

Clicking on the appropriate element on the diffuse section of the 3D layer will show the new;y generated UV’s.

Screen Shot 2014-09-11 at 23.14.29

As an example of what you may want to do at this stage, a simple example a gradient can be applied to the arm mesh only, on a separate layer in the Layers panel.

Screen Shot 2014-09-11 at 23.15.36

Returning to the 3D model, the texture has been applied.

Screen Shot 2014-09-11 at 23.16.15

An easier way to see the applied gradient is to select the Scene in the 3D menu, then choose the ‘Unlit Texture’ style of the surface properties (marked green), then if no geometry is visible, but you would like to see how it fits the mesh, then the ‘Lines’ can be turned on (marked orange).

Screen Shot 2014-09-11 at 23.19.18

Splitting the mesh is also good when trying to work on a high resolution texture from a 3D body scan.

Take this torso scan, when the UV textures are opened (accessed by double clicking on the diffuse layer under the 3D layer in the Layers panel),


Screen Shot 2014-09-09 at 23.29.15


you will see all the whole UV and the bitmap.

Screen Shot 2014-09-09 at 23.29.23

If it’s needed to work on the high resolution textures, then it’s much better to work in each object as a separate mesh. This objective can be achieved by apply a cross section that isolates the both meshes.

Screen Shot 2014-09-11 at 22.50.42

Doing this will get a much higher resolution UV / texture to work on.

Screen Shot 2014-09-11 at 22.52.45

Now the new UV map has been opened it can be treated like any other 2D photograph or image. If there are issues with the texture (typically issues can be things like cracks or areas where the scanner did not reach), the tools like content aware patch, clone heal, spot heal etc, can be used to fix it (the same as a regular photograph). Once the fixed texture has been saved it will then be applied to the mesh. The important element to remember here is the the 2D layer can incorporate any activity that might be applied to a normal image, including, Smart Objects, Additional layers, Filters, Adjustment layers etc etc. And any new activity will be stored as non destructive texture and will not be rasterised (unless this is performed on purpose). This means that in the future the texture is fully editable (as long as the original file is saved as a PSD or a TIFF).

In another example of using cross sections, it may be required to print a cross section of this milk bottle

Screen Shot 2014-09-11 at 23.01.39

Create a cross section as in the above examples then choose the scene from the 3D panel. To see the cross section, check ‘cross section’ on in the properties panel. Then move the cross section into position using the X,Y and Z modifiers. In the following example, the colour of the intersection has been changed to blue and the plane has been removed from the display. The blue lines of where the cross section is made can be seen on the main view.

Screen Shot 2014-09-11 at 23.02.22
Once the print settings menu is selected from menu item 3D / 3D Print Settings, a real time render will be shown in a wire frame box (this resembles the 3D printers print chamber).

Screen Shot 2014-09-11 at 23.02.50


Once the print button has been pressed, a view of the printed model will be displayed. At this point the 3D model will be a cross section and can be exported using the export button. The file that is created, will be suitable for the printer chosen in the 3D Printer Settings. In this example the MakerBot Replicator 2.


Screen Shot 2014-09-11 at 23.04.01


We hope you have fun with cross sections in Photoshop


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Videos from the 3D Printshow – Adobe and Represented Artists

Last week Adobe sponsored the London 3d Printshow, we also sponsored some artists who were presenting art work that had been painted and printed with the 2014 release of Photoshop CC.

Tobias Klein and Francis Bitonti gave talks about their work, which can be seen below.

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Photoshop World 2014 – Las Vegas Keynote

Did you miss the Photoshop World event this year? Well here’s the recording. This year Julieanne Kost delivered the keynote session  as Winston Hendrickson was at the London 3D Printshow.


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The London 3D Printshow Keynote by Winston Hendrickson – VP of Adobe’s Digital Imaging Products

Adobe’s Winston Hendrickson opened the London 3D Printshow this morning and provided an insight into the trends of the creative industry and it’s future, by reflecting on how technology has created an opportunity to push innovation in ways that were never conceived previously.

The artistic world never stops converting ideas into content and creations. Since the dawn of time we have been chasing better ways to make an impact and improve ways that this is achieved.  Over the decades, there have been many advancements in technology that  supports this creative vision and has enabled us to make a creative impact, but also allows is to be more effective in a faster time.
Creative expression is a uniquely human experience and people are the best creative engines’
We can break down where we are now from history in to three distinct areas :-
Film, Digital and Content.
The arrival of the film camera in the early 1800’s opened up brand new possibilities for the visual arts.  Pioneering artists such as Jerry Uelsmann embraced the invention of the camera and then found ingenious ways to extend what could be created with it. 
Using techniques such as photomontage, combination printing, overpainting, and retouching, the work of these artists ranged from compensating for the limits of the technology (e.g. film emulsions being overly sensitive to blues causing skies to be overexposed), to create highly abstract works of imagination. These photographers opened up the artistic horizon and by doing so, prompted new inventions to happen.
Throughout this process a pattern emerged, each invention established new creative avenues and subsequently artists would then start to push the possibilities, taking ideas to different places.  In turn, this activity led to new inventions and created a cycle that advanced the state of the art at an increasing rate over the previous years.
The arrival of the personal computer, Photoshop, and the digital cameras opened up vast new array of visual possibilities.  More and more people were able to express themselves with images and explore a broad design space very quickly. 

As Adobe moved from the Layers technology to the Healing Brush to the amazing Content Aware technology, new visionaries such as Bert Monroy, Maggie Taylor, and many others created groundbreaking new media that changed the world.  Digital artists freely combined images, illustrations, paintings, 3D, and video in the pursuit of great work and were able to create highly compelling content. 

With the convergence of Mobile, Cloud and desktop computing a new dawn of digital media is starting to take form and the creative process is once again going through a dramatic change. More diverse ideas are being expressed in digital media, at a faster rate and touching more people via different channels than ever before. Social networks have had had a huge impact on the way people interact with each other, as an example, people now tell stories with images and video, than using traditional text. This year alone will see more photographs taken than ever before. The world and how people engage and consume information is changing once again and at an even greater than than ever before. To put this into context, over 4 Zettabytes of digital information was consumed last year and this was a 50% growth on previous year.
The Future is already here
3D Printing

The 3D print journey began with industrial manufacturing in the 1980s, where it was used for prototyping and replacement parts. Recently, 3D printing technology has been applied to the medical, dental and aerospace fields. This advancement has lead to the creation of customised content and now personalised parts.  But, through recent advancements in hardware technology and material innovation, the opportunity for artists to easily produce custom physical objects has opened up.

Creatives can now take advantage of a broad range of materials and produce 3D printed pieces that can exist in physical space as well as the digital world.  This shift marks an inflection point for the 3D printing industry, and a new era of 3D printed content is emerging from creative artists from around the world. This shift has clearly marked a change in this industry – it has moved from a technology business into a content business stimulating huge growth.

Benefits of 3D and 3D Printing
There are three core attributes that make content more compelling for consumers, which will drive demand for that content and the tools and technology that enable it:
·       Aesthetic – the visual appeal of the object
·       Familiarity – such as branded characters
·       Personalised – embedding a piece of the consumer within the content
3D printing can deliver on all of these.  But, for 3D printing to achieve its artistic potential the process of producing content must be  efficient, accessible, and of high fidelity. If we expand on these areas, the opportunity will present itself.
·       Efficient - Designing 3D printed content today is complex and laborious. It forces artists to devote too much time and energy on the process instead of the result.  Tools for empowering artistic expression is the key to creating great content.  There is a need for the tools to allow artists to pursue their vision, without the distraction of complexities of technology. Ultimately artists are artists and not engineers.
·       Accessible – not limited to just skilled specialists.  It is critical that 3D printing becomes available to all creatives and tools which are familiar to them.
·       High fidelity - The future of 3D printed content is colour.  In history, colour has probably had the largest impact on the way that we consume content and the impact on media – photography, television, and movies are clear examples of how we expect to see colour in today’s world.  Colour was the tipping point in each of these cases.  And now colour has come to 3D printing!
Artists of all kinds, from graphic designers to architects to fashion design, now have the broadest horizons in history and can express their vision in more ways than ever before.
Adobe Collaborations at the London 3D Print Show
At the London leg of the 3D print show, Adobe has collaborated with some pioneering artists that are embracing full colour 3D printing as well as classic single colour and taking their digital creations into the physical world.
Francois Veraart  – Freelance Graphic designer
Francois Veraart, a freelance graphic designer who has produced illustrations and images for worldwide advertising campaigns including Nokia, Vodafone, Tommy Hilfiger, and Heineken.  Francois has over 20 years of experience as an illustrator and graphic designer but only started working with 3D printing late last year and was blown away by being able to realize his designs in the physical world.  He has the amazing ability to composite 3D designs into photographs to make 3D art come to life.
For his piece, Francois created something not traditionally seen in 3D, a 3D poster.
Dutch Masters  final
Tobias Klein – Architect/Designer – World renowned 3D Printing Artist and Architect
Tobias Klein is a world renowned 3D printing artist and architect.  He orchestrates the roles of an architect, designer and cultural agitator as the creator-craftsman.  Tobias Trained as an architect and is working as educator, Tobias focuses on generating a intersection of contemporary CAD techniques and CAD/CAM technologies with site and culturally specific design narratives, intuitive non-linear design processes, and historical architectural references.
Tobias’ most recent project is titled ‘The Garden of Earthly Delights’.  The work orients itself on the triptych altar piece  “Garden of Earthly Delights’ by Hieronymous Bosch and propagates a long standing struggle and clash between the man-made items and the naturally grown environment
Tobias is a long time Photoshop user and until recently his 3D work has been mostly in monochrome. Photoshop CC and the 3D engine has allowed Tobias to easily switch to using full colour as part of his designs.
Studio Tobias Klein_Garden of Earthly Delights_02
Studio Tobias Klein_Garden of Earthly Delights_01
Francis Bitonti -Fashion Designer
Fashion designer Francis Bitonti, is creating a new manufacturing paradigm through his blend of computational design techniques and emerging manufacturing technologies.  Francis is able to blur the lines between fashion and technology, and merge cutting edge digital design with manufacturing technologies, Franics sees computational methodologies, smart materials, and interactive environments as opportunities to create new aesthetic languages for our environment.
Francis describes his method as “a collaboration with artificial intelligence”
Francis Bitonti’s work has been published internationally in many prestigious institutions including the Smithsonian Cooper-Hewitt National Design Museum and most recently has garnered media coverage for the 3D printed gown created for fashion icon Dita von Teese, which received numerous accolades and a great deal of public attention when it was debuted at Ace Hotel in New York City in 2013.
Francis’ piece is a capsule collection of shoes that is “grown” in the digital environment one pixel at a time. Each shoe in the collection renders a different system with unique structural configuration supporting the body differently each time. 
Wedges_Large copy

All of our artists have used some Photoshop experimental technology from the Adobe labs that enables the use of gradient colour across their design, which was historically very difficult and time consuming to achieve. This special technology in Photoshop has also allowed the artists to streamlines their workflows, cutting literally hundreds of hours out of each persons process.
There are some amazing pieces of artwork in the London 3D Print Gallery and the Photoshop section has some art work that is truly
ground breaking!  
In addition to our artists, Adobe would like to thank and acknowledge Stratasys for their work enabling Fracois, Tobias, and Francis to produce full gradient color content using the Objet 500 Connex 3 printer. 
Adobe and Stratasys share a common vision about enabling color for 3D printing and they worked closely with us to prepare content for this show. 
The creative process has always been changing and evolving, constantly extending our creative reach with each new invention and the ingenious ways artists use them.  We’ve entered a period where we’re witnessing the most significant changes in the history of technology and  these advances are empowering artists to redefine “ground breaking” once again.
Our artistic horizons are as wide as they ever have been and, as Jerry Uelsmann said, no artist could wish for more than that.

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London 3D Print show Adobe Seminars

Adobe is sponsoring the London leg of the 3D print show this year. We are also sponsoring the art gallery at the show with some amazing pieces that have been created and printed direct from Photoshop CC.

We also have a seminar booth and will be presenting topics on Photoshop CC and 3D printing, as well as talks on how the artists made the models, painted them and printed, all from Photoshop CC.

If you want to learn more about the possibilities for 3D / 3D Printing from Photoshop then why not come along, they are all short sessions, so you won’t miss the rest of the show.

The schedule for the seminars is as follows :-


Adobe Seminars – 3D Print Show – London

Thursday 4th September
10:30  Starting out with 3D and 3D Printing with Photoshop
11:00  Exploring Photoshop 3D and 3D Printing
12:00  In Depth with Artist Tobias Klein
12:30  Exploring Photoshop 3D and 3D Printing
13:00  In Depth with Artist Francois Veraat 
14:00 Starting out with 3D and 3D Printing with Photoshop
14:30  Exploring Photoshop 3D and 3D Printing
15:00 Same Workflow, Different Medium with Scuplteo
15:30  Starting out with 3D and 3D Printing with Photoshop
16:00 In Depth with Artist Francis Bitonti
16:30  Exploring Photoshop 3D and 3D Printing
Friday 5 September
10:00  Starting out with 3D and 3D Printing with Photoshop
10:30  Exploring Photoshop 3D and 3D Printing
11:00  Same Workflow, Different Medium with Scuplteo
11:30  In Depth with Artist Francois Veraat
12:00 Starting out with 3D and 3D Printing with Photoshop
13:30  In Depth with Artist Tobias Klein
14:30  Starting out with 3D and 3D Printing with Photoshop
15:00  Exploring Photoshop 3D and 3D Printing
16:00 In Depth with Artist Francis Bitonti
16:30 Starting out with 3D and 3D Printing with Photoshop
Saturday 6 September
10:00 In Depth with Artist Francis Bitonti
10:30 Starting out with 3D and 3D Printing with Photoshop
11:00 Exploring Photoshop 3D and 3D Printing
12:00 Starting out with 3D and 3D Printing with Photoshop
12:30 Exploring Photoshop 3D and 3D Printing
13:30 In Depth with Artist Tobias Klein
14:00 Starting out with 3D and 3D Printing with Photoshop
14:30 Exploring Photoshop 3D and 3D Printing
15:00 Same Workflow, Different Medium with Scuplteo
15:30 Starting out with 3D and 3D Printing with Photoshop
16:00 Exploring Photoshop 3D and 3D Printing
Come to the Adobe sponsored art gallery and see the amazing and cutting edge pieces that have been printed from Photoshop CC.
3D Print Art
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#CreativeFriday – Creating Bump/Normal maps in Photoshop CC 2014 from any image.

One of the new features in the 2014 release of Photoshop CC is the ability to create a bump or normal map from any image.

There are two new menu items in this version of Photoshop available on the tool bar menu, Filter / 3D.

  • Generate Bump Map
  • Generate Normal Map

What’s a Bump Map

Bump mapping is a technique in computer graphics for simulating bumps and wrinkles on the surface of an object.

What’s a Normal Map

Normal mapping used to re-detail simplified meshes. Normal mapping, or “Dot3 bump mapping”, is a technique used for faking the lighting of bumps and dents – an implementation of Bump mapping. It is used to add details without using more polygons.

To Generate a Bump Map

. Open a JPG in Photoshop (if another file, just flatten it)

Screen Shot 2014-08-28 at 20.10.50

. Select menu option Filter / 3D / Generate Bump Map.

Screen Shot 2014-08-28 at 20.10.50


. the image will turn into a gray scale image.

Screen Shot 2014-08-28 at 20.11.03

. Now save this image on the desktop (in the example below i’ve called it Bump.jpg).

Screen Shot 2014-08-28 at 20.11.03

. Now revert the menu option so that you end up with the original file.

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. Create a 3D Extrusion from the image, Menu option 3D/ New 3D Extrusion from Layer

Screen Shot 2014-08-28 at 20.11.41

. Once this happens the image will become the font face of the 3D object. To select the object make sure you have the move tool selected ‘V’ key and click on the 3D object. At this point you should see the navigation options of the cage. Also, open the 3D window as well (as shown below), the 3D window will show the structure of the 3D object, and provide easy access to all faces.

Screen Shot 2014-08-28 at 20.11.51

. Click on the Front inflation property (marked yellow) inside the 3D window.

Screen Shot 2014-08-28 at 20.11.54

. Open the properties window and navigate to the Bump slider (marked in red below), then click on the bump map texture loader icon (marked in yellow). This will load the previous generated Bump map into the 3D model.

Screen Shot 2014-08-28 at 20.12.13

. Choose load texture and point it to the bump map that you created earlier.

Screen Shot 2014-08-28 at 20.12.13

This will load the bump map into the bump map channel of the front face of the 3D object.

. Once the file is loaded, you can increase the strength of the bump to show the bump map releif (shown in red). To show the effect i have just used the rotation and dolly navigation tools (marked yellow), to zoom in and rotate the object.

Screen Shot 2014-08-28 at 20.13.11

You can do the same with Normal maps using the Generate Normal Map option from the Filter / 3D menu.


Related posts

#CreativeFriday – Photoshop 2014.1 update

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