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Archive for September, 2015
Adobe MAX is just around the corner. Be sure to sign up for keynotes on the 5th and 6th October, where you can see first-hand all the latest Adobe Creative Cloud tools and trends: http://adobe.ly/1QAzcPb
This post will show how to apply a graphic to a 3D object, regardless of the presence of a UV map or not. Applying a graphic to the model will use a technique called ‘Projection’. Projection will take the contents of a layer (above the model) and push the pixles to the surface of the model and place it into the texture layers.
This toy plane will be used in this demo, and will place graphics on the top of the wings.
These two graphics are transferred to the Library panel in the desktop apps via the Creative Cloud Sync (part of the Creative Cloud Desktop application that you probably have on your computer).
For the projection method of transferring the graphics onto the texture to work, the cameras of the 3D viewport will need to see the target area. Also, projection will only place the graphics on the parts that the camera can see.
Re-orientating the plane can be done with the 3D secondary view (or by manually moving it with the 3D move tools). This panel will normally be shown when the 3D layer as well as the move tool are selected. But if it’s not shown, then it can be selected from the toolbar menu option View/ Show / 3D Secondary view.
The following panel should appear in the view port (top left)
This secondary view is showing the plane in orthographic mode, more like a 2D view, rather than a perspective (3D) view. This view can be changed by clicking on the camera (marked in red), and selecting the view (i’ll select Top view), as that is where the graphics will be placed.
The library graphic can be added to the comp, by dragging it and into the canvas. A new layer to contain this object will be created for you. The star was originally on a white background, but with a simple selection, a mask has been created to hide it.
Once the graphic is sitting on a layer above the plane, it can be pushed down using CMD+E (Mac) or CTRL+E on a PC. This will operate a merge downward action and push the graphic onto the plane and into the texture layer. Merging down will sometimes cause graphics to dissapear, if this happens see section ‘ What can go wrong when merging down?’ below.
Once merged, the graphic should be displayed but will take on the characteristics on the light and materials of the 3D scene.
If the texture is opened at this point, the graphic will be displayed blended into the texture layer. The black wiry element is the UV map and I think you might agree that it’s a bit messy, that’s because it’s not a very well created UV map. Also, you will see 3 stars below and not one, and this is because of the overlapping UV’s in the map. If the UV map gets in the way, it can be turned off by un-checking the UV check box marked in red.
N.B. When painting and texturing a 3D object it is important to have well laid out UV maps.
Without UVw’s turned on
How does the merge down work. When the merge down is actioned, Photoshop will look for a layer to place the textures on, this should be an empty/simple layer. The layer is very useful as it helps to isolate different merge downs (if there are many), as they can be placed on individual layers within the texture map. By operating Photoshop in this way will allow the textures to be kept as non-destructuve layers, for re-editing at a later point in time (you don’t need to rasterise texture layers in Photoshop CC).
I.e. A new layer is placed in the texture, this is done by clicking the new layer button (marked in red)
One the other side of the wing, you can see a colour graphic, which has been placed into a new layer above the 3D object, a mask created to cut the background out, then converted to a Smart Object.
After the merge down (CMD+E (Mac) or CTRL+E (Pc)) has been performed, the graphic is moved to the empty layer in the texture.
Some times the dialog box similar to the one below may appear. This means that there is no empty layer at the top of the layer stack to place the graphic, in this case the texture contains a Smart Object at the top most layer and Photoshop is not able place the graphic. The way around this is to make a new empty layer in the texture, then retry the operation (selecting ‘Change Texture Target’ will open the texture for you.
To get to the texture layers, click on the 3D panel and choose the material layer, in this case called ‘Material1’ under it’s 3D object. Notice that there are other materials called the same name, this is because the UVw map that contains the texture is shared across the other 3D objects in the scene (it doesn’t matter which material is selected in this case). Once the material is selected, the Materials properties will be shown (in the properties panel). To open the texture, click the ‘Diffuse’ icon marked in red below.
Graphic goes missing on the merge down?
Some times the merge down graphic goes missing, if this happens, place the merge down graphic in a Smart Object and re-try.
To see what’s possible with this technique, the Jeri model (shown below), that was created by James Stewart for the Adobe gallery at the 3D Print Show in New York was painted in exactly this way.
James Stewart’s Video about Jeri and 3D painting in Photoshop CC
The evolution of Photoshop CC has brought created brand new workflows, mostly with the ever growing support for Smart Objects within the adjustment layers and filters. One area that has been improved is for those people that like to work in mulitple colour modes.
As you are probably aware Photoshop has multiple colour modes, CMYK, Lab and RGB to name a few. There are benefits to working within a specific colour space as opposed to another. However, the worflow was to convert the document to the required mode, then convert it back and loosing any edits. This post is to show how to work in multiple colour modes at anyone time without loosing the edits.
i.e. A typical workflow for somone that wanted to work in Lab from an RGB document was to convert from the documents originating source (in this caes RGB), then convert to Lab (using Image / Mode / Lab). Once the adjustments have been made, the document would be then most likely be turned back to the original mode (RGB in this case), or the intended output mode (i.e. CMYK or RGB for example).
i.e. RGB -> LaB -> RGB.
This was fine, but when converting back the adjustments made in Lab would committed to and not re-editable.
Using Smart Objects with this workflow can be beneficial and improve the workflow by enabling in intermediate mode edits to be kept for re-adjustment later.
Once the artwork has been loaded into Photoshop CC, the colour mode is highlighted on the document (marked in red), in this case it’s RGB. The layer is also a Smart Object (which links back to the original RAW file, where any adjustments made from Lightroom or from Camera RAW are kept).
To Convert between different modes is easy, just select the new mode and Photoshop CC will convert to the new mode for you. However, tools will behave differently in different modes. i.e. Curves in RGB has a channel entry for the overall channel, Red, Green and Blue. Where as, Lab, has Luminance, a and b (Once the conversion happens all of the tools will change)
A better and non-destructive way of working is to Create a Smart Object from the Smart Object, once the file is opened.
This process will embed the original file into a Smart Obejct, allowing Photoshop to store the final image in RGB mode (the new Smart Object, the original file’s Smart Object can then be converted to be Lab).
Once the Conversion to a Smart object operation has completed, the layer will need to be double clicked to open the embedded layer (there will be two canvases open inside Photoshop). To convert the embded file to operate in a different mode, choose Image / Mode, then choose the desired Mode. When the Smart Object layer is converted to a different colour mode, Photoshop will ask if the layer should be rasterised, I would choose the ‘Don’t Rasterize’ option and work around the issues (Becasue Lab is a large colour mode, there my be some colours that the final RGB profile may not be able to deal with). Not rasterizing the layer will keep any RAW adjustments that came from either Camera Raw or from Lightroom.
Again, Smart Objects now is able to solve the problem of working within different colour modes in Photoshop CC.
Photoshop CC now supports the Ultimaker 2 printer as part of it’s local printer support. The Ultimaker 2 profile can be downloaded from the the link marked in green below.
Once the profile has been downloaded, just unzip the file
Once the profile and the 3D model is loaded, then choose the 3D Print settings from the 3D menu and select Local / Ultimaker 2. To start the Photoshop 3D Printer pipeline, click the button marked in green.
Special Event: 3D and 3D Printing in Photoshop CC
Join Richard Curtis from Adobe at South London Makerspace on Saturday, 14th November 2015 for special 3D Printing in Photoshop CC event…
This talk will explain and provide information on the 3D/3D printing capabilities in Photoshop CC. We will focus on the working with the 3D interface as well as how to import and work with 3D models when inside Photoshop. The talk will also explain the advancements of the 3D printing engine and how it works with desktop and commercial 3D printers, as well as online services like Sculpteo and iMaterialise.
We are looking for about 20+ attendees, the event is open to the members and the public on a first come first serve basis, it will take place in Phase 1 (aka The Gate Room).
11:00 – Welcome to Makerspace
11:15 – 3D and 3D Printing in Photoshop CC (~2 hours)
After the event we’ll head over to the pub for some lunch and drinks.
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.