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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.
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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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.
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
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.
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).
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.
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).
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.
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.
To 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).
Using 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).
Now 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.
This 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.
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).
Hopefully you can now easily place a label on any object, bottle or not !Share on Facebook
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,
The 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.
The Adobe Stock service (direct from the Creative Cloud Desktop Application) is a great way to find an appropriate (Free For Placement) label.
The 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.
Once the Label is in position, it’s ready for projecting to the surface texture.Share on Facebook
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)Share on Facebook
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.
HSL – Hue, Saturation and Luminance controls are also available in Lightroom mobile.
We hope that you enjoy these new additions to Lightroom mobile.Share on Facebook
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.Share on Facebook
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
|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 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.
Camera Raw 9 – Please use the update mechanism in Photoshop CS6 and Creative Cloud app.
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 JournalShare on Facebook