#CreativeFriday – 3D Printing with Photoshop CC and Tinkerine Ditto Pro

Tinkerine Ditto Pro 3D printer was recently added to the Photoshop FDM printer portolfio. Tinkerine and I held a webinar to show how Photoshop CC and the Tinkerine Ditto Pro work together and the types of things that you are able to print with this combination. The video below is the replay of this session.


If you would like to play and print with the Tinkerine Ditto Pro 3D printer profile with Photoshop CC, then you can download it from the Photoshop 3D printing page here, and click on the text within the area marked in red. If you don’t already have Photoshop CC, then you can download a 30 day trial here.

Screen Shot 2015-09-03 at 20.11.37

N.B. I apologise for the 10 minutes sound at the end of the session, for some reason the microphone developed a fault during the recording.


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#CreativeFriday – Photoshop’s Fade feature enhancement in Photoshop CC 2015

Since the release of Photoshop CC 2015, it has been possible to use the standard Image Adjustments non-destructively on a Smart Object. This great enhancement will not only allow you to re-edit the adjustments, but also control the opacity and blending modes of each adjustment at any time within your workflow (essentially replacing the Fade command with a turbo charged Fade command).

Why is this so great and why not keep using the Old Fade command behaviour?

Lots of Photoshop users work on their artwork using the image adjustment operations on a single layer, then if they need to fine-tune the adjustment, they would use the Fade command. The Fade command is very useful for changing opacity or the blending mode of the effect; however, it’s a destructive edit and can only be performed once, just after the adjustment has been applied.


So for example: If an exposure adjustment is made to a layer, the fade command will be available until a new command is executed. i.e. If a selection is made straight after the exposure command is made, the Fade command will no longer be available.


In the 2015 update, the Image adjustments/Fade command became more powerful, but moved to a new place. Fade is now available not just as a menu item, but also when used in combination with Smart Objects. This technique also opens up more adjustments that were not possible when using Smart Objects previously, but also more precision and control at any time during the workflow.


Let’s look at how these adjustments can be used on a layer, and then use the new Fade options to get precise control.


An image opened into Photoshop CC 2015 from Lightroom, using Smart Objects.


1When this operation is performed, any adjustments in Lightroom will be carried non-destructively into Photoshop. The layer inside Photoshop will now enable you to carry on editing the original RAW file + any Lightroom adjustments using Camera Raw. 

Once inside Photoshop, an adjustment may need to be made. To make a non-destructive edit a ‘New Adjustment Layer’ is typically used. This means that any changes via each layer won’t directly have an impact on the underlying (original image), but will also allow continuous edits without having to use the History panel to go back to a previous state.


Alternatively, adjustments can now be made using Image / Adjustments directly on the Smart Object

For example, now the exposure can be increased or decreased by a stop (or more if required)
3effect will be added as a non-desctructive adjustment to the Smart Object (marked in red below)
Screen Shot 2015-08-13 at 12.53.29The traditional Fade command is no longer available (as it traditionally is for adjustments). The Fade is now available on the adjustment itself by placing a right click on the adjustment.
4 The ‘Edit Smart Filter’ will open the original adjustment options and the ‘Edit Smart Filter Blending Options’ will open the old Fade command. This essentially means that the Fade operation is now available at any point in your workflow, not just straight after the adjustment has been made.
6We hope that you enjoy this huge improvement with non-destructive workflows when using Fade and Image Adjustments on your artwork.
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#CreativeFriday – Adding a label on a complex 3D bottle with Photoshop CC

Last week we covered how to add a label onto a bottle using the Projection/merge down method in Photoshop CC 3D. As mentioned, this is beneficial when the label is the same size or smaller than the part of the object that is facing the camera. But what if the label is larger than the object face?

For example, this label, unless is reduced in size will likely need to be wrapped around the hidden areas of the bottle face.

Screen Shot 2015-08-06 at 14.06.33

The other issue is that the milk bottle is only a single shell, therefore adding just a texture to it will cover the whole bottle (as shown below).

hmm, not really what we would like to see.

So what happened, and why does it look like this.

Because the bottle is a single shell, the textures will be added to the whole shell, but using the UV(w) maps to associate the texture to the polygons of the model. Opening the texure map will show what is going on with this texture and 3D model.

Screen Shot 2015-08-06 at 16.37.42

When the UV map was created, it was created in a way that split the maps into many islands, also the maps are not really unwraping the object in the most efficient way. To get around this, you could project the parts of the image on the model (as in last weeks post). Also, the image can be mapped to the UV(w) maps using Photoshop’s 2D tools like warp etc. A better way (in my opinion), is to properly re-create the UV(w) maps for the intended use and describe where the unwrap starts and finishes. To do this we will need to use a 3D software package that is able to edit the UV maps. For this (as in previous posts, we will use Cinema 4D).

3D Objects can be exported direct from Photoshop (this is handy if they are inside a PSD or a 3D PDF). To export an object from Photoshop, rightclick on the 3D object in the 3D panel or from the 3D layer choose Export 3D object/mesh.


Inside Cinema, you can see the UV, as we saw in Photoshop CC (without the texture). Note Cinema is in BP UV Edit mode, this allows you to see the UV and edit it (if/when required).

Screen Shot 2015-08-06 at 16.41.54

The old UV(w) map can be removed if required, by deleting the checkerboard icon on the object definition. However, for speed, we can just isolate the part that we need and work this way. This will be up to you, but either way is perfectly fine. For this exercise, i’ll keep the original UV and work with the areas that are requried for the label.


Move Cinema 4D into Edge mode (marked in Pink below) (the Standard interface is shown below (marked in yellow), this makes it easier to access the tools required for the next steps (your environment might be different to this)). You can clearly see the Polygons and edges and from this, you will be able to work out how the model should be cut for placement of the label.

To make the cuts, we use various selection methods to tell Cinema where to cut the object. A combination of ‘loop Select’, ‘Live Select’ (plus other selection tools, as and where required) and holding the SHIFT key down to add multiple edges to the selection. Then the active selection is saved by selecting from the menu bar Select \ Set Selection (and a meaningful name is given (marked in green above)).

As the UV(w) has already been created, i’m going to use this as a base, and just re-organise the selected section of the model. I’ve moved Cinema into BP UV Edit mode (marked in red), then selected ‘Relax UV’s’ (marked in green, we don’t want to re-created the UV(w), so projection has not been selected on this occasion). Before ‘Apply’ relax UV is pressed, Cinema needs to understand  where the edges are, the small trangle (marked in pink (left)), holds the selection that will be used (right). This triangle needs to be dragged to the ‘Cut Selected Edges’ text box and both ‘Cut Selected Edges’ and ‘Use Tag’ need to be turned on.  Then ‘Apply’ (keep LSCM selected) can be pressed.

In this case, the UV’s that will be used for the base will be re-created (splitting off any Polygons that are no longer included in this UV(w).

Below shows what happend as part of this action. The polygons for the base of the object which were attached to the original UV before the relax operation have been re-allocated, and are seperated as part of the UV map (these poygons are represented by the arc underneath the polygons that were cut within area marked in purple below). However, this part of the UV can now cause a problem. If the object was painted/textured on at this point. The polygons that are crossing other polygons, would also take any paint/texture at the same time. This can actually be usefull for getting consistency of small parts, but in this case it’s not to helpful. The polygons need to be seperated and the UV(w) cleaned up some more.

Screen Shot 2015-08-07 at 10.27.30To clean up the UV(w), Cinema can be moved into Polygon UV mode (marked in green below) and the UV’s can be selected (marked yellow) in-line,direct on the UV (marked in pink on either side of the screen). To select the polygons, once the tools have been selected, just select them on the right hand (UV panel), when selected they will turn orange. It’s clear that the UV that will contain the label is only selected and the re-formed polygons have not been selected, as they are still black (on both representations).

Screen Shot 2015-08-07 at 10.36.17Using the rotate, scale and move tools, these UV’s can be moved and re-positioned out of way, allowing clean up the UV map. Selection of the UV polygons direct on the 3D object can also be done using these tools. N.B. If you do have UV’s overlapping it can take a little while to seperate them, but a clean UV(w) will pay off in the long run.

After a little time, the UV(w) looks like the following. (In another post we will look at positioning the UV(w)’s in the correct direction, based on textures that will be applied later).

Screen Shot 2015-08-07 at 11.00.07Now the UV(w) has been cleaned and moved around to create a good size for positioning the texture on in Photoshop, the next step is to save it out of Cinema and back to Photoshop. For this, i’ll use either the DAE (collada v1.4) format or the OBJ format, these can be found on the file export menu.

Bringing back into Photoshop and opening the textures once again, will hopefully show the new UV’s.

Screen Shot 2015-08-07 at 11.08.06This will now make it much easier to add the label. Adding the label can be done in  mulitple ways, either direct on to the UV using a standard layer, or added as a texture, then moved into the desired position using the layer and Photoshop’s transform tools.

Screen Shot 2015-08-07 at 11.22.29The result can be seen on the 3D model, as soon as the changes to the texture have been saved. In this case the label is inverted, so the transform tools can be used to flip it around.

Screen Shot 2015-08-07 at 11.24.08

If you notice on the image above, there is are two tabs on the label that are rising above the label, this is due to missaligned UV’s on the UV(w). We can fix this, by heading back into the Cinema. By using the Selection tools (magenta) and the Magnet tool (blue), the rougue polygon(s) can be manually moved into it’s correct position (yellow) and snapped (green) into pace.

When re-exported back into Photoshop, the image is represented much better (more time and patience will give much better results).

Screen Shot 2015-08-07 at 12.58.37


Hopefully you can now easily place a label on any object, bottle or not !

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#CreativeFriday – Adding a label to a bottle with Photoshop 3D Projection

I’ve been asked this question a few times now, “How do you add a label to a bottle using Photoshop’s 3D features”. Simple enough, but believe it or not it’s loaded with issues, so this blog post will look to take this subject on and offer a few ways of solving it and making it simple. Next weeks post will look at wrapping a larger label around a bottle and try to explain the issue and simplify for you.

First, is there a quick way of adding a label on a bottle? The answer is yes, but will depend on the bottle, it’s geometry, and label size.

Let us take this 3D Bottle,

Screen Shot 2015-08-06 at 13.13.49The simplest way of putting a label, graphic or image onto a surface (doesn’t have to be a bottle) is to project it. Photoshop’s 3D system is built into the layers panel. This means that a new layer can be created and can be used to store the graphic for projecting. The graphic will be merged down and pushed directly onto the 3D model’s texture layer, at which ever position the bottle and label are at. One consideration of the projection, is that it will only cover the area of the object that is facing the camera, and won’t wrap around the hidden surfaces.

The bottle will need to be moved into the correct position and face the camera. I am using the secondary window (marked in red below) to select the left side of the image (orthographic mode, rather than perspective mode), and then transfer the secondary view to the main window by using the icon marked in yellow.

Screen Shot 2015-08-06 at 13.18.19The bottle is now in position.

The Adobe Stock service (direct from the Creative Cloud Desktop Application) is a great way to find an appropriate (Free For Placement) label.

Screen Shot 2015-08-06 at 13.22.10A range of items are displayed where the meta data matches the search query.

Screen Shot 2015-08-06 at 13.22.45The asset, once found, can then be transmitted to my libraries panel within the desktop applications and stored. For this exercise I’ll use one called 2D Shapes (as shown below). The asset is free to use ‘For Placement Only’ (FPO) and can be licensed from the Adobe stock site or from within the library panel by right clicking on the asset and choosing license image.

Screen Shot 2015-08-06 at 13.29.06

Once the Label is in position, it’s ready for projecting to the surface texture.

Screen Shot 2015-08-06 at 13.30.20To project the image onto the texture channel, just right click on the image layer and choose ‘Merge Down’

Screen Shot 2015-08-06 at 13.30.20The image is then sent to the texture and it will be shown as attached to the 3D model’s surface.

Screen Shot 2015-08-06 at 13.32.13As you can see, it’s relatively easy when the label / graphic is smaller than the face facing the camera.

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Sculpteo and Adobe Live Webinar on Making Colour Prints with Photoshop CC

Sculpteo and Adobe have joined forces to create a Live Webinar to help your 3D Prints Pop! Our Multi-Color material for 3D printing pairs perfectly with Photoshop CC and we’ll show you how with our “Intro Webinar”. You do not want to miss this…


Are you struggling to get the best looking, and most vivid colors or textures out of your 3D printer? If so we have just the thing for you, our Photoshop Creative Cloud + Sculpteo webinar is a must see.

The webinar is on Aug. 27th, 2015 at 12:30pm PST (see below to sign up).

You will be shown features in Adobe’s Photoshop CC  by Richard Curtis (Digital imaging & 3D Print Specialist at Adobe), these features include the various 3D painting tools that are essential for getting the vivid colors you’re looking for. After learning about the tools available in Photoshop CC, I will walk you through how to upload your file from Photoshop CC into Sculpteo’s website for multi-color printing. There are many features on the Sculpteo site that you can utilize to put money back in your pocket when ordering from Sculpteo and I’ll walk you through the optimization, and review tools in the webinar, a few important design guidelines, and I’ll also explain what happens after you place your order with Sculpteo.


Print in multi-color for more vivid 3D Prints!


If you’re someone who owns a desktop 3D printer but you’re really looking for a more polished and professional final print, our multi-color material offers 390,000 different color choices and our finishes range from raw to glossy varnish which helps hide the layers of your print if that’s what you’re looking for.


You’ll walk away from this webinar with all the tools you need to get your best quality 3D prints! We will also have a nice little prize for those who attend the webinar, so make sure you don’t miss out.


How to sign up for the webinar…


1. Click this link to save the invite to your calendar.

2. On the day you’ll get a pop-up.

3. Just use the URL in the invite to join the Adobe Connect room.

And you’re all set! See you all there.


(Original post from Sculpteo)

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#CreativeFriday – Lightroom mobile, Curves, HSL and more

Lightroom mobile had an update within the past few weeks, and now gets even more powerful and adds value to Photographers. Lightroom mobile now enables you to make adjustments to the Curve, Post Crop Vignette and HSL channels (Hue, Saturation and Luminance).

These new controls are available when you are working on your images, and can be found when pressing the icon area marked in red.

Selecting each item (Vignetting, Tone curve etc), will change the options that are available, to allow control over that tool. Clicking the lens icon, will take Lightroom mobile back to the standard basic Lightroom controls.

Tone Curve (with lights, darks and highlight controlable boundaries). Shadows is also avilable in this option as well.


Vignette controls


HSL – Hue, Saturation and Luminance controls are also available in Lightroom mobile.


We hope that you enjoy these new additions to Lightroom mobile.

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3D PRINTING is Revolutionizing Special Effects – Legacy Effects

Great catch by Eric Renno of Tip Squirrel on this YouTube video of how Legacy Effects use 3D Printing for revolutionizing special effects. Enjoy.

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Photoshop CC 2015.0.1 Update Now Available

The Photoshop team have been working hard to resolve a few issues that have been reported in the 2015 release. This Photoshop update should be available as part of the standard Creative Cloud Desktop application and will be installed when you require. For more information on which issues are address, please head over to Jeff Tranberry’s blog.

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Adobe Camera Raw 9.1.1 is now available

Camera Raw 9.1.1 is now available through the update mechanism in Photoshop CS6 and Photoshop CC.

New Camera Support in Camera Raw 9.1.1

  • Canon PowerShot G3 X
  • Casio EX-100F
  • Casio EX-ZR3000
  • Leica Q (Typ 116)
  • Olympus AIR-A01
  • Panasonic Lumix DMC-GX8
  • Panasonic Lumix DMC-FZ300
  • Panasonic Lumix DMC-FZ330
  • Pentax K-3 II*
  • Phase One IQ3 50MP
  • Phase One IQ3 60MP
  • Phase One IQ3 80MP
  • Ricoh GR II
  • Sony A7R II (ILCE-7RM2)
  • Sony DSC-RX10M2
  • Sony DSC-RX100M4

* Please note the following limitations specific to camera support for the Pentax K-3 II:

  • Pixel shift Resolution (PSR) mode was added in this release. It is recommended to use a tripod and use a 2-second timer to minimize motion artifacts when in PSR mode. 
  • Images created with the In-camera HDR mode are not supported in ACR and Lightroom.  Users who wish to shoot multi-capture HDR in raw mode should shoot separate files and merge to HDR using ACR/Lr’s Merge feature.  Click here to learn more about merging files in Lightroom.  

New Lens Profiles in Camera Raw 9.1.1

Mount Name
Canon Lensbaby Velvet 56mm f/1.6
Fujifilm Lensbaby Velvet 56mm f/1.6
Nikon Lensbaby Velvet 56mm f/1.6
Nikon SIGMA 24mm F1.4 DG HSM A015
Nikon SIGMA 150-600mm F5-6.3 DG OS HSM C015
Olympus Lensbaby Velvet 56mm f/1.6
Panasonic Lensbaby Velvet 56mm f/1.6
Pentax Lensbaby Velvet 56mm f/1.6
Samsung Lensbaby Velvet 56mm f/1.6
Sigma SIGMA dp0 Quattro
Sigma SIGMA 150-600mm F5-6.3 DG OS HSM C015
Sony A Lensbaby Velvet 56mm f/1.6
Sony E ZY Optics Mitakon 35mm f/0.95
Sony FE Lensbaby Velvet 56mm f/1.6
Sony FE Zeiss Batis 25mm f/2
Sony FE Zeiss Batis 85mm f/1.8

Fixed Bugs:

  • Fixed an issue with occasional visual artifacts in Photoshop after running Camera Raw in GPU mode.
  • Fixed an issue where automatic lens profile matching did not work for the Schneider LS 150mm f/3.5 lens.
  • Fixed an issue with distortion correction for some images captured with the Canon EF 8-15mm f4L Fisheye USM lens.
  • Improved quality of lens profiles for Nikon COOLPIX P330 and Nikon COOLPIX P340 cameras.
  • Improved speed of loading Fujifilm X-Trans raw images.
  • Fixed an issue where the slider knob would “jump back to its starting position” when the cursor moves beyond the slider interface.

Download Links

Camera Raw 9 – Please use the update mechanism in Photoshop CS6 and Creative Cloud app.

DNG Converter 9.1.1:  MAC | PC

Please note – If you have trouble updating to the latest ACR update via the Creative Cloud application, please refer to the following plugin installation:


Original source – Lightroom Journal

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Lightroom CC 2015.1.1/Lightroom 6.1.1 Update

Lightroom CC 2015.1.1 and 6.1.1 are now available as a final release on Adobe.com and through the Creative Cloud application.  The goal of this release is to provide additional camera raw support, lens profile support and address bugs that were introduced in previous releases of Lightroom.

Camera Support

  • Canon PowerShot G3 X
  • Casio EX-­‐100F
  • Casio EX-­‐ZR3000
  • Leica Q (Typ 116)
  • Olympus AIR-­‐A01
  • Panasonic Lumix DMC-­‐GX8
  • Panasonic Lumix DMC-­‐FZ300
  • Panasonic Lumix DMC-­‐FZ330
  • Pentax K3 II
  • Phase One IQ3 50MP
  • Phase One IQ3 60MP
  • Phase One IQ3 80MP
  • Ricoh GR II
  • Sony DSC-­‐RX10M2
  • Sony DSC-­‐RX100M4
  • Sony A7R II (ILCE-­‐7RM2)

New Lens Correction / Profile Support in Lightroom CC 2015.1.1 / Lightroom 6.1.1

Mount Name
Canon Lensbaby Velvet 56mm f/1.6
Fujifilm Lensbaby Velvet 56mm f/1.6
Nikon Lensbaby Velvet 56mm f/1.6
Nikon SIGMA 24mm F1.4 DG HSM A015
Nikon SIGMA 150-600mm F5-6.3 DG OS HSM C015
Olympus Lensbaby Velvet 56mm f/1.6
Panasonic Lensbaby Velvet 56mm f/1.6
Pentax Lensbaby Velvet 56mm f/1.6
Samsung Lensbaby Velvet 56mm f/1.6
SIGMA SIGMA dp0 Quattro
SIGMA SIGMA 150-600mm F5-6.3 DG OS HSM C015
Sony A Lensbaby Velvet 56mm f/1.6
Sony E ZY Optics Mitakon 35mm f/0.95
Sony FE Lensbaby Velvet 56mm f/1.6
Sony FE Zeiss Batis 25mm f/2
Sony FE Zeiss Batis 85mm f/1.8

Bug Fixes:

Installation Instructions

Please use the Help-> Check for Updates menu item or the Creative Cloud application to install this update

If you’re having trouble, then you can also install via the following links:

Mac  |  Win

(Original Source page – Lightroom Journal)

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