Adobe Creative Cloud Creative Meet Up 2015: #CreativeCloudUK – Part 5

Part 5 of the On-demand UK Creative Cloud Meet up. UX guru Paul Boag shares his top five tips for success in the design world.

For more information on the 2015 release of Adobe Creative Cloud, visit

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#CreativeFriday – Using Creative Cloud Libraries – Part 1 – Introduction

One of the most powerful additions to the Creative Cloud is the Creative Cloud Libraries feature. Creative Cloud libraries offers many unique things, from collaboration with other Creatives and Creative Cloud users, a Photoshop Global referencing system, as well as a way to download and license from Adobe Stock. I thought I would cover how to use this feature over a series of posts.

Creative Cloud Libraries exist in two places within your Creative Cloud Id. Within the desktop apps like Premiere Pro, Illustrator, After Effects, Indesign and Photoshop. They also exist within your Adobe ID on your creative cloud on the web.

Let’s take Photoshop CC.

Creative Cloud Libraries are available under the Window menu, and also exists as a panel within the desktop applications.

Screen Shot 2015-07-01 at 21.43.04

Libraries are essentially a way to store and share content at a global level within the desktop applications and is available at any time in your workflow, regardless of which canvas is open. Libraries will also automatically sync to the Creative Cloud (when an internet connection is available), and are available where ever you login to Creative Cloud web site.

Because Libraries exist on the Creative Cloud, they can also be shared to and collaborated on with other Creative Cloud users, they can also be given as a link to another Adobe ID’s without sharing any content.

In this post we will talk about Creating a new library and putting content in there from Photoshop.

Once the panel is open, a library can be created from the drop down list (marked in yellow), or from the fly out menu (Red) and choosing ‘Create New Library’.

Screen Shot 2015-07-01 at 21.48.53Once selected, you can give the library a meaningful name.

Screen Shot 2015-07-01 at 21.53.21

Clicking create will provide you will an empty space for content.

Screen Shot 2015-07-01 at 21.53.26

Libraries can store content from mobile apps, like Brush, Hue, Shape, as well as content from Stock and objects from Photoshop or the other desktop applications (like shapes, text, colours etc). Libraries can also contain content from your current canvas. To get assets into the Library, just drag the asset direct from the canvas into the panel.

Screen Shot 2015-07-01 at 22.13.43There are many things that Libraries can contain from the canvas, from layer styles, text, colours, graphics and shapes. After using collections for a while there will be many assets that you can use at any time, on any canvas, as well as other installations of the applications on your Adobe ID and from within the other desktop applications (Photoshop, Illustrator, Indesign, Premiere Pro and After Effects).

You can also see the libraries (marked in Red below) on the Creative Cloud web site.

Screen Shot 2015-07-01 at 22.52.18

Once inside the Libraries on the web site, all content can be viewed directly from within the the browser.

Screen Shot 2015-07-01 at 22.53.05This post is just an intro to Creative Cloud libraries over the next few posts, we will discover more of what Libraries can do within your workflow.

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Adobe Creative Cloud Creative Meet Up 2015: #CreativeCloudUK – Part 4

Part 4 of the On-demand UK Creative Cloud Meet up.  Illustrator Jonathan Ball takes us through his journey from amateur scribbler to acclaimed designer.

For more information on the 2015 release of Adobe Creative Cloud, visit

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Adobe Creative Cloud Creative Meet Up 2015: #CreativeCloudUK – Part 3

Part 3 of the On-demand UK Creative Cloud Meet up. Art Director and Graphic Designer Radim Malinic of Brand Nu talks about the lessons he’s learnt from years of commercial design work.

For more information on the 2015 release of Adobe Creative Cloud, visit


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Adobe Creative Cloud Creative Meet Up 2015: #CreativeCloudUK – Part 2

Part 2 of the On-demand UK Creative Cloud Meet up. Adobe Principal Evangelist Rufus Deuchler outlines some of the exciting new features in the 2015 release of Adobe Creative Cloud, our biggest ever release.

For more information on Creative Cloud, visit

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Adobe Creative Cloud Creative Meet Up 2015: #CreativeCloudUK – Part 1

If you missed the live stream of the UK Creative Cloud Meet up, you can catch up on part 1 below. Rupert Knowles, Senior Solutions Consultant at Adobe, announces the fantastic line-up for this year’s Adobe Creative Cloud Creative Meet Up.

For more information on the 2015 release of Adobe Creative Cloud, visit

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#CreativeFriday – Unwrapping UVs on a 3D model for Photoshop CC

I’ve spent the last few weeks learning how to unwrap UV maps for a 3D model, so that any texturing and painting rusults in Photoshop CC are more controllable. For exmple, take this primative object that I created in Cinema 4D, and objened into Photoshop as an OBJ file.

Screen Shot 2015-07-02 at 13.55.33Within Photoshop the standard brush tool can be used to paint directly onto the 3D geometry and project the paint marks onto the texture map.

Screen Shot 2015-07-02 at 13.55.59Painting on one face of this particular object will result in the paint appearing on every side. This can be quite confusing to why it happens. If the material for cube is opened, it’s fairly obvious why.

To access the materials for a 3D Object in Photoshop, click on the material object in the 3D menu (marked yellow) and select to open/edit the Diffuse texture (marked in red) from the folder (marked in purple)

It turns out that we only see one face, the reason that we see this result on all faces is that each of the other faces takes the texture from a single definition.

Screen Shot 2015-07-02 at 13.56.083D Texture maps are controled by something called UV’s or UVW (in some cases). A UV is a collection of reference points that link texture back to the original Polygons.  The U and V are simply references for an X and Y coordinates reference, but are represented in a 2D fashion, this is called un-wrapped geometry. These 2D representations will make texturing and painting much simpler and more controllable. In the case of the cube there are six faces, so therefore six UV’s exist. however, the UV’s in this example are all positioned in the same place, that’s why we only see one, but in reality there are six overlapping.

This might be want you need to paint the cube for your texture, but if you need to have differnt designs, patterns and textures on each face, then this won’t work for you and will need to be corrected.

Photoshop CC can read the UV’s that have been created from a 3D Package and also has a way to automaticaly correct the UV’s by choosing ‘Generate UVs’ from the 3D Menu. This again, might be ok for the texture that you would like to paint. However, if you would like to get full control of the UV’s, then you will need to unwrap them using a dedicated 3D package.

I’m no expert in UV unwrapping and it’s a bit of a dark art, and as my experience grows i’ll write more content, so this is just an intro to get you started. When I was looking into this topic, I found it difficult to get a consistent method of unwrapping UV’s. But I did find one resource that helped me understand the unwrapping process, you can find it here (Lester Banks). As there are many different 3D packages out there, it’s hard to cover them all. So my preference is Cinema 4D and that is what’s explained here.  N.B. You will need Cinema 4D Body Paint to do UV unwrapping with your models.

Within Cinema, you can see the same object that existed in Photoshop CC above.  N.B. This is a very simple tutorial and not the only way to perform the unwrapping.

When you unwrap, you will want to think about how the texures will be laid on on the final object.

The first thing inside Cinema is to make the object editbale, Clickin the ‘Make Editable’ button in cinema to do this (marked in red below)

N.B. Make Editable essentially converts the object from parametric (you can still change parameters) to polygons. This is typically done when want to edit the points/polygons by hand, edit the UVW map, etc.

Screen Shot 2015-07-02 at 14.33.52The next step is to define the points that will be used to refer the object on the UVW map. For the cube, move the Cinema view port into top mode.

Each window has a window selector in the top right (as shown in red below). When on the perspective mode as in above, clicking this button (marked in red below), will take you into multi view mode, then clicking on the same button on the required view will show it in full screen.

Screen Shot 2015-07-02 at 14.39.46Move Cinema into the Points view (by clicking on the points mode (marked in red).

On the top view, hold the SHIFT key down and click on each corner of the square.

N.B. Points refer to Vertices. Vertices/Points are the collections that hold the polygons/edges of the model together.

Screen Shot 2015-07-02 at 14.42.32Now move back to perspective mode in the viewport.

The 2D representation of the 3D model (or the UV’s) is a flattened version, so obviously when converting a 3D object to a 2D representation it will need to be cut in certain places. By selecting the edge tool (marked in red), will tell Cinema how to cut the model and lay it down on a 2D surface (Similar to when a tailor makes a suit). In the case below, each vertical edge of the cube is selected (using the SHIFT key), Cinema will cut the model on each edge.

Screen Shot 2015-07-02 at 14.46.50To unwrap this model as a conventional represention, we need to specify the bottom and how that will be cut, bearning in mind how it will be unfolded. We will just specify three sides to cut, leaving the 4th connected to the uncut faces. (holding the SHIFT key will ensure that these are selected as a collection, if the wrong edge is selected, then pressing CMD/CTRL will allow you to remove a single edge from the collection).

Screen Shot 2015-07-02 at 14.47.20Now, we can unwrap the model into the 2D UV.

The object marked in Red shows that the model has a UV map assigned to it. To access this, change the view port to be in BP UV Edit.  Screen Shot 2015-07-02 at 14.53.33When inside the BP UV Edit, you can select ‘UV Mesh / Show UV Mesh’, and in this case, the lines shown in the yellow box below, will be the same as what Photoshop is showing.

Screen Shot 2015-07-02 at 14.56.21Move Cinema into the top view, as we are now going to specify on the UV where the selected points are. To start specfiying the UV, click the UV property (marked in red), then move the viewport into UV mode (marked in yellow). As long as a UV property exists the area marked in purple will become active).

Screen Shot 2015-07-02 at 15.00.23There are many variataions to the next step, but for this we are specifying the points, so just click the Projection / Frontal. This will take the points and represent them on the UV (show below).

Screen Shot 2015-07-02 at 15.04.08Move cinema into perspective view and click the Relax UV tab.

Make sure the ‘Pin Point selection’ is turned on (but the use tag is turned off), as we will use the active selection, not a saved selection. And make sure that ‘Cut Selected Edges’ is turned on (but the use tag is turned off), for the same reason as just mentioned. Also, make sure that LSCM is selected, as well as having Auto re-align turned on.

Screen Shot 2015-07-02 at 15.05.19Then click on Apply!

Hopefully the 2D UV will be shown on the right hand side, which will have collapse all six surfaces

Screen Shot 2015-07-02 at 15.10.33Save the Object and export as either Collada 1.4 or OBJ from Cinema 4D, then open into Photoshop CC. Now painting on the 3D model or on the 2D UV map by using the standard Photoshop CC brush tool, should be much easier and each side can be painted independently.

Screen Shot 2015-07-02 at 15.22.51

Hopefully this post will get you started into creating and unwraping UV’s, as well as painting on 2D UV’s and 3D objects within Photoshop CC.



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Landscape Photographer of the Year – Enter by 12 July 2015

Basic CMYK

The UK’s Landscape Photographer of the Year competition opens for entries


Could you be the ninth holder of the title, ‘Landscape Photographer of the Year’ and win the top prize of £10,000? The search is now on to find the new winner of one of the nation’s most exciting photographic competitions, founded by renowned landscape photographer, Charlie Waite.

Entrants have until the 12th of July to enter the 2015 Awards by submitting their photographs of the British landscape. The competition is open to everyone and you can enter up to 25 photographs across the four categories. The prize fund is worth £20,000, with £10,000 for the overall winner and there is also a special class for those under 17, so the whole family can get involved.

Unlike many other photographic competitions, the Landscape Photographer of the Year Awards celebrate the United Kingdom only, offering photographers worldwide the opportunity to showcase their images of this richly diverse and unique country. You don’t have to live in the UK to enter and there is a special extra prize – the Countryside is GREAT Award – offered by the competition’s sponsors for the best image from an overseas entrant.

There are categories for urban views, landscapes with people, close-up details and conceptual landscapes, as well as more classic views, so there is plenty of scope for your imagination. Every part of the UK has a unique character; from the seascapes of Cornwall and the mountains of Scotland to the quieter beauty of the Home Counties and flat lands of the East, each providing many gems for photographer and traveller alike.

The Awards are being held in association with VisitBritain and Countryside is GREAT for the second year. Jasmine Teer, VisitBritain’s Photography Manager commented: “Photographs that showcase the best of Britain play a vital role in VisitBritain’s mission: to raise our profile and inspire people all over the world to come and experience this beautiful country. We are very proud to support the Landscape Photographer of the Year Awards and hope that, as part of Countryside is GREAT, we will encourage not only UK entrants but photographers from all over the world.”

Awards founder, Charlie Waite, added: “Now, more than ever, I think we are realising how important the British landscape is to our wellbeing. The feeling that we get when we shut the office door and escape to a green space, whether it be a small park or a vast mountain, is unique and of vital importance. Our landscape is a place in which to breathe and to create. For me, landscape photography is a way to restore life’s balance and I know that many who enter the competition each year feel the same and share that emotion through their images. A photograph is a very powerful way to convey information, encouraging visitors to appreciate what Britain has to offer and to experience, first hand, the joy to be had from our landscapes.”

An exhibition of winning entries will premiere in November 2015 and around 150 of the best photographs from the competition will appear in the Awards book – Landscape Photographer of the Year: Collection 9 – by AA Publishing.

All entries to the Awards must be uploaded via the competition website, and the closing date is 12th July 2015. Entry fees apply. Full terms and conditions can be found on the site.

Complimentary 12 month subscription to the Creative Cloud up for grabs!

Adobe has joined us as a Supporter of the Awards this year. Adobe will be a awarding a complimentary twelve month subscription of Creative Cloud Complete to the creator of their favourite image from the ‘Adult Your view’ category. They will be selecting the winner from the main shortlist and, unlike all the other prizes, which are decided on by the image only, Adobe will also be looking at the technical information that you supply. The ‘Your view’ category encourages a creative viewpoint and Adobe are looking for an image that matches their vision of ground-breaking content. Matt Botwood caught the judges’ attention last year with his inverted images that created mysterious and intimate fantasy worlds. This new prize is a great reason to think laterally & see where your creativity takes you.

Fern, Ystradfellte, Brecon Beacons, Wales, UK

Fern, Ystradfellte, Brecon Beacons, Wales, UK

Travels in a Strange Land, Wales by Matt Botwood (Highly commended, 2014)

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3D Printing Webinar – Tinkerine Ditto Pro Photoshop CC

Creative Cloud Photoshop CC users now have the ability to slice 3D models direct in Photoshop for the Tinkerine Ditto Pro printer. It has never been easier to take 3D models and print to 3D Printers, especially the Tinkerine, without having to worry about the quality of the mesh or correct supports for the build process.

If you’re interested in learning more about how to utilize Photoshop for 3D-printing, join me and the folks from Tinkerine  this Thursday for an online webinar where we’ll walk through lots of new features that this integration opens up.

Details on the webinar are as follows:
Event: Photoshop for Tinkerine DittoPro
Time: Thursday June 2nd, 10:00 AM PST

All you will need are your speakers for listening and your keyboard for questions. The session will run for about an hour and then will have 15 minutes for questions and answer.

This is an open webinar so don’t hesitate to tell your friends to join too! For those of you who can’t make it don’t worry; the webinar will be recorded and put online for viewing.

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#CreativeFriday – Adding a Bump Map to a 3D surface in Photoshop CC 2015

This post extends the new Photoshop 3D features post that I posted last week. I wanted to show how to add a texture to a surface of a 3d model (a cylinder in this example), then create a 2.5D Bump map from it.

Inside Photoshop with a new canvas open, it’s easy to create a 3D object from a template object. Choosing 3D / New Mesh from Layer / Mesh Preset and choose the base object.

Screen Shot 2015-06-26 at 14.26.56The result will be a simple Cylinder

Screen Shot 2015-06-26 at 14.27.26Adding a texture to a surface in Photoshop 3D is easy.  Either click directly on the surface (marked with the red arrow), or select the surface material from the 3D panel (marked with the red box). The properties panel (Yellow) will then give access to the material properties.

The Diffuse property will define the surface material.You can change the Diffuse texture by clicking on the folder marked in green above.

This action will open the texture (if one does not exist, Photoshop will ask you to confirm the creation of a new one). Once the texture has been openede, you might seen funny black lines on the canvas, these are the UV maps. The UV map is showing you the polygons in a flat 2D orientation. The important thing here, is that the texture at each pixel point will map onto the actual texture on the 3D model, so it’s always good to see both sides.

Choosing from the Photoshop menu system Window / Arrange / 2 up Vertical will allow you to see both sides and monitor your texture progress. If you take the brush tool and select each window in turn and move the brush around, you should see the cursor which is tracking on the UV mapping references.

Screen Shot 2015-06-26 at 14.44.11

Adding a texture to the surface is simple, and to do this i’ll use an image from Adobe Stock. I would like to use some fire and i don’t have one locally, so the Stock service will be ideal for this.

From the File menu, you can choose ‘Search Adobe Stock’, then you can find an image that might work for the texture / desired effect.

Screen Shot 2015-06-26 at 14.46.52

Choosing a refernce image is free and won’t come from your allocation, and will be synced straight to your desktop applications via the Creative Cloud library, in the case below, synced to ‘2D Shapes’ library.

Screen Shot 2015-06-26 at 14.47.34The synced asset will be available in the Libraries panel (marked in Yellow), inside Photoshop CC 2015 once the sync has completed. It’s then easy to drag and drop the watermarked (For Placement Only) texture onto the texture of the surface.

Screen Shot 2015-06-26 at 14.53.31The get the image to cover the area and in the correct orientation, it can be re-sized using the standard Photoshop 2D tools.

To License the Image, you can right click on the image in the Library planel (marked in red) and a royaly free High Resolution image will be downlaoded, the water marked version will be replaced once the file has re-synced.

Screen Shot 2015-06-26 at 14.53.31v2(This technique will also work with the water marked image, the water mark will be part of the final texture, but this can all be changed dynamically later one, once the creative decisions have been made).

The texture can be saved and closed.

To create the bump map from the texture, select the surface again (from the 3D panel or by clicking directly on the model), marked in red below. This will allow editing of the material properties, at which point clicking on the Bump texture folder (marked in yellow), and choosing ‘Generate Bumps from Diffuse’  (marked in green).

Screen Shot 2015-06-26 at 15.06.27The next panel will give you creative control of the bump maps that will be generated.

Screen Shot 2015-06-26 at 15.06.50Once OK has been pressed, the bump map height can be controled by using the Bump Map slider. The results of the bump will be seen on the model on the screen.

Screen Shot 2015-06-26 at 15.12.55This object could stay like this with colour, but i’m going to remove the colour and keep just the bump maps.

To do this, the Diffuse texture needs to be re-opened. This can be done from the material properties panel (marked green), and the ‘Edit Texture’ selected (marked blue).

Screen Shot 2015-06-26 at 15.15.51One the texture has been opened, i’ve just created a new black colour layer, selecting from the menu Layer / New Fill Layer / Solid Colour / and choosing black or a dark grey (you many need to play with these colours a little, to find the optimum for your desgin).

Screen Shot 2015-06-26 at 15.15.51v3Once this has updated, the surface will be a single colour and the bump map will show through.

Screen Shot 2015-06-26 at 15.23.57The object can now be printed. In the example I have the new Tinkerine Ditto Pro selected (marked in Yelow), as well as the Min and Max displacement values (marked in red). The Min and Max displacemet values will raise / invert the hight of the bump maps on the surface of the print.

Screen Shot 2015-06-26 at 16.14.07You can see that the bump maps have been transfered to the Print output.

Screen Shot 2015-06-26 at 16.18.33

We hope you enjoy placing bump maps onto surface for either 2D or 3D models. Please get in touch if you have some interesting concepts/ prints or ideas that you would like to share.


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