Click on any phrase to play the video from that point.
[♪music♪]
[ADOBE TV Presents Colin Smith in...]
[No Stupid Questions]
There's a new feature in Photoshop CS5 called Repoussé.
It allows you to extrude and extract objects.
We're going to play with that, but we're going to start in Illustrator CS5.
I love the precision that you can get when drawing with Illustrator.
So let's go have a look.
So in Illustrator, I have these 3 layers,
just simple objects sitting here,
and I need to get them into separate Photoshop layers.
You can copy then paste them,
but instead I'm just going to export them directly from Illustrator
and you can export out as a Photoshop file,
and I'll show you the dialogue box.
When it comes up, you have a choice of RGB, CMYK, grayscale.
We'll leave it at RGB at high resolution.
Most importantly, we want to write layers,
because we're going to use these layers and extract and extrude them.
So I've already imported this into Photoshop.
So I'll show you the layers that I have--
same thing as before.
I've already taken 2 of these layers
and extruded them out using Repoussé.
I'll select this top layer, and when you go to the 3D menu
and you try to choose Repoussé, it's teasing you--
it's grayed out, it needs something.
We need a selection, so I'll hold the Command key on Mac/Control on Windows,
click on here, and now I have a selection.
Now I can use Repoussé.
And notice that I can also use a Text Layer,
a Layer Mask, or a Selected Path.
So I use this current selection,
the Repoussé dialogue box comes up
and we have several choices in here,
lots of different Presets,
and of course, you can save and load your own.
I'm going to use this particular one right here,
but the one thing that you should get used to inside Repoussé
is that very small numbers mean big things.
A depth of 3 is way too much for this--it's going to pull it off into the distance.
I actually want .05 and a height of 5 and a width also of 5
and that's going to pull this off into the direction I want.
The last thing I want to do is create a different texture inside here,
and we give you quite a few textures,
but I'm going to load the default for Ray Tracer,
load that in, and there's a nice metal gold that I'll use.
Okay.
Click OK and now we've got our 3 extruded layers.
The next part is important,
and it's made a lot better.
In CS4, this was very difficult.
CS5 it's a piece of cake.
What's important to note here is that we have 3 separate 3D layers
and we have 3 separate camera views, so if you try to move a camera,
it will only move on each layer,
so we want them to move together.
To do that, I'm going to select 2 of these,
go into the 3D menu and merge these 3D layers together,
so now they're in the same world.
So one camera will control their movements.
I'll do the same to the last one--Select 3D, Merge 3D Layers--they're all together as 1.
And if I grab my camera now
and start to move it around
so you'll see that we've got all of these 3 together.
The problem is you can see they're all stacked together the wrong way.
So let me go back and change the view of the camera,
so when you grab your camera tool over here,
we've got lots of views, and I'm going to choose Top,
and that way, I get to see them on top.
So now we need to look at the top camera
to select each one of these meshes to line them up,
and as you can see here, in the 3D panel, we've got lots of choices here.
We need to go to the 3D Mesh and move these around.
This is probably the first one that you're going to grab,
but that's the wrong one--this moves everything and we want to actually move
the individual meshes, so we want to
take this particular mesh and pan it.
So if we click on the Back and we can move this around,
and if we zoom in here, we can get a little bit of a closer look.
So I want this to be positioned in the back.
I want the middle to be moved closer to that back,
and then we want the front to be moved out away from that.
We don't want them intersecting at all.
And you know what?
We could be a bit more accurate with this
as we zoom in, I want to make sure
we've got no gaps in there whatsoever,
and now we've got them all lined up.
Great.
Now if we go back to our regular camera view,
and we can go right to the Front view,
and now we've got our objects together.
So remember, we started with an Illustrator file,
we extruded them in Repoussé,
and we've combined them together.
We can now start to do things with this model.
We can take paintbrushes, by the way, and start painting on here,
and we can paint on different modes.
We can paint Diffuse--that's the texture mode.
Glossiness, Opacity--I'm going to show you what painting on the Bump layer does,
and the very first time you do this,
you'll get a dialogue box saying it does not have a Bump Map layer
and Photoshop will actually add one for you.
I'm going to create one that is divisible by 2, so for whatever reason,
I choose something that is divisible by 2--here 1024 x 1024 pixels is a good value.
And what happens when we create this is
it makes this layer, and if we go and look at our layers,
we can see that over here on the right, there's our Bump Map.
So when a Bump Map is just completely white,
there's nothing happening on there.
If you double-click on this, it opens up a second document.
This is a great place to talk about our little window here, where I can pop this up
and I can look in 2 places at once.
So let me move my panel over here,
and we can see that in this particular view,
we've got our shield and we've got the Bump Map.
Anything you paint over here when you save--so if I just grab my default colors
and I start painting in black when I hit Save--you'll see it change here.
If I Invert this and Save,
then you'll see that that will extrude.
So one cool thing that I like to do
to make metal look more like metal
is to take a Bump Map and render some clouds.
You just make sure that you've got a default black and white,
save that, and watch what happens inside there--
you can see that we get a little bit of a cool kind of look inside here.
Let me just grab my camera and we'll move that around,
and we'll just move our widget around here.
We can also go to this view, and this one's really important--
when you've got your camera view, this particular button--
if you don't change this to a perspective camera view,
then it looks like a regular orthographic view, which is--
if you ever remember doing that fake cube--right?
Do you remember doing that in grade school?
You draw 4 shapes and you connect the lines.
It doesn't have perspective--we want dynamic perspective.
So when we click inside here, we get dynamic perspective--
maybe a little bit too dynamic--
so we need to take the camera and dolly it back, move it around.
And you can see we've got some pretty simple controls for moving this around,
and you can start to see what's happening with that ripple effect on our shield.
That is because remember, we were adding a little bit of that--
the cool clouds up there.
And the last thing I want to show you
is that I'm going to jump all the way back to Illustrator,
and we've got some really cool symbol libraries in here.
The Regal Vector Pack--and watch this--
we've got this great looking shape, this great vector shape.
I'll copy this, come back to Photoshop, and when I'm in this Bump Map layer,
I can paste this in and I get choices to paste this
as a Smart Object, Pixels Path, or a Shape layer,
and a Shape layer is what I'm going to use
because it will be very important.
I'll show you.
Let me just scale this up
and I'll fill it with white.
Watch what happens when I save.
It shows up inside here,
and I'll move this over, save inside here,
but what I really want to show you is that
when it's a path like this,
the path has a hard edge,
and we get the resulting hard edge inside here.
Now, typically, what someone would do
when they're creating some kind of Bump Map extrusion
is they would probably blur it,
but the problem with blurring it is how do you unblur it?
So then you save a third layer and a fourth layer.
Well, because I made this into a Shape layer,
I've got a pretty powerful feature where I can Feather this
and Unfeather it.
So watch this--I'll just Feather this a little bit,
save it, and watch the difference.
See how this looks more metallic, more like it's been pounded out of the metal
and extruded?
This gives you a great idea of how you could work easily between Illustrator CS5
and Photoshop CS5.
Use what's great within each program
to create amazing-looking, 3-dimensional, photorealistic artwork like this.
Thanks.
[♪music♪]
[ADOBE TV Productions]

