3D Photoshop: Imagine. Model. Create.

 This Guide to all things 3D in Adobe Photoshop will have you creating models and scenes in no time! Filled with rich imagery and fun tutorials, the project-based chapters within build your knowledge of important 3D concepts and show you what is possible in Photoshop. You'll discover ways to push your creative ambitions forward and create eye-catching 3D artwork. The author's companion website, 3DPhotoshop.net, offers downloadable objects and artwork so you can work through the techniques in the book.   “Steve Caplin has an incredible depth of knowledge with all of Photoshop. He has been working with the 3D tools from the start and is one of the few experts who understands how to leverage the 3D capabilities” - Zorana Gee, Adobe Photoshop Senior Product Manager

Table of Contents:
Foreword. . . . . . . . . . . . . . . . . . . . . . . . . . . iii About this book. . . . . . . . . . . . . . . . . . . . . . . 1 Introduction. . . . . . . . . . . . . . . . . . . . . . . . . 2 Part one: Making 3D objects. . . . . . . . . . . . . . . . 5 1 Making and moving a 3D object. . . . . . . . . . . . 7 Turning the text into 3D. . . . . . . . . . . . . . . . . . . . . . . . . . 8 The Secondary View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Moving the 3D world. . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Moving 3D objects around. . . . . . . . . . . . . . . . . . . . . . . 12 Rotating 3D objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Moving using the 3D axis. . . . . . . . . . . . . . . . . . . . . . . . 15 Getting back to where you started. . . . . . . . . . . . . . . . 16 2 Shaping and editing a 3D object. . . . . . . . . . . 17 Tapering, bending and twisting. . . . . . . . . . . . . . . . . . . 18 Distorting in combination . . . . . . . . . . . . . . . . . . . . . . . 20 Distortion with numerical accuracy. . . . . . . . . . . . . . . 21 If the cap fits…. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Turning on the bevel. . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Editing the source. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Editing the contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 3 Revolving a 3D object. . . . . . . . . . . . . . . . . . . 27 Turning the extrusion into a revolve . . . . . . . . . . . . . . 28 Using the Pen tool for more control. . . . . . . . . . . . . . . 30 Reshaping revolved shapes. . . . . . . . . . . . . . . . . . . . . . 32 Refining the shape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 4 Inflating objects from photographs. . . . . . . . 35 Save a preset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Applying the preset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Double-sided inflation . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Completing the effect. . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Fixing the texture on the model. . . . . . . . . . . . . . . . . . 44 Correcting highlights. . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 3D inflation from scratch. . . . . . . . . . . . . . . . . . . . . . . . 46 Objects you can’t inflate. . . . . . . . . . . . . . . . . . . . . . . . . 48 5 3D postcards . . . . . . . . . . . . . . . . . . . . . . . . . 49 Manipulating the postcard. . . . . . . . . . . . . . . . . . . . . . . 50 Editing the Smart Object . . . . . . . . . . . . . . . . . . . . . . . . 52 6 3D presets. . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Basic primitives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Complex presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Not-so primitive bottle. . . . . . . . . . . . . . . . . . . . . . . . . . 56 Wrapping textures round cubes. . . . . . . . . . . . . . . . . . 58 Adding textures round other presets. . . . . . . . . . . . . . 60 7 Other creation tools. . . . . . . . . . . . . . . . . . . . 61 The Depth Map mesh. . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Smoothing the mesh. . . . . . . . . . . . . . . . . . . . . . . . . . . .63 Cylinders from depth maps. . . . . . . . . . . . . . . . . . . . . . 64 Texture and color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Build your own planet . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Adjusting the contrast . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Spherical panoramas. . . . . . . . . . . . . . . . . . . . . . . . . . . 72 3D from Vanishing Point . . . . . . . . . . . . . . . . . . . . . . . . 74 The problem with 3D volume . . . . . . . . . . . . . . . . . . . . 76 8 Importing 3D objects. . . . . . . . . . . . . . . . . . . 77 NASA comes to town. . . . . . . . . . . . . . . . . . . . . . . . . . . .78 Google 3D warehouse . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Daz Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Daz Studio issues. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 The multiple object problem. . . . . . . . . . . . . . . . . . . . . 86 The benefit of multiple objects. . . . . . . . . . . . . . . . . . . 88 Models with insides. . . . . . . . . . . . . . . . . . . . . . . . . . . . .90 Correcting mismatch errors. . . . . . . . . . . . . . . . . . . . . . 92 When models go bad. . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Part two: Lighting and materials. . . . . . . . . . 99 9 Rendering. . . . . . . . . . . . . . . . . . . . . . . . . . . 101 The render process. . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Three kinds of shadow. . . . . . . . . . . . . . . . . . . . . . . . . 104 Render modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Depth of field. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Partial renders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 10 Lighting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 Basic lighting controls. . . . . . . . . . . . . . . . . . . . . . . . . . 112 Working with multiple lights . . . . . . . . . . . . . . . . . . . . 114 A splash of color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Lighting presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Point lights. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 Spot lights. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Shadows. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Special effects with shadows. . . . . . . . . . . . . . . . . . . . 124 11 Placing materials. . . . . . . . . . . . . . . . . . . . . 125 Coloring 3D objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 Creating a material from scratch . . . . . . . . . . . . . . . . 131 Painting on 3D objects. . . . . . . . . . . . . . . . . . . . . . . . . 132 Applying an photographic material . . . . . . . . . . . . . . 134 Applying preset materials . . . . . . . . . . . . . . . . . . . . . . 136 Material presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138 Material surface properties. . . . . . . . . . . . . . . . . . . . . 140 Material limitations. . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Applying multiple textures. . . . . . . . . . . . . . . . . . . . . . 144 Editing materials in placed objects. . . . . . . . . . . . . . . 146 Editing materials in created objects. . . . . . . . . . . . . . 152 Painting materials from scratch . . . . . . . . . . . . . . . . . 158 3D Painting methods . . . . . . . . . . . . . . . . . . . . . . . . . . 160 Painting bump textures. . . . . . . . . . . . . . . . . . . . . . . . 161 Painting transparency . . . . . . . . . . . . . . . . . . . . . . . . . 162 Painting on material windows. . . . . . . . . . . . . . . . . . . 164 Painting on complex surfaces. . . . . . . . . . . . . . . . . . . 166 Other painting modes. . . . . . . . . . . . . . . . . . . . . . . . . .168 Part three: Bulding 3D scenes. . . . . . . . . . . . . 169 12 Multiple objects. . . . . . . . . . . . . . . . . . . . . . 171 Creating and combining. . . . . . . . . . . . . . . . . . . . . . . . 172 Manipulating objects in a scene. . . . . . . . . . . . . . . . . 176 Duplicating objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 Instancing objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 De-instancing objects. . . . . . . . . . . . . . . . . . . . . . . . . . 182 13 Refraction, reflection and transparency. . . . 183 Creating transparency . . . . . . . . . . . . . . . . . . . . . . . . . 184 Refraction by shape and number. . . . . . . . . . . . . . . . 188 Reflections on the ground. . . . . . . . . . . . . . . . . . . . . . 190 Reflection between objects. . . . . . . . . . . . . . . . . . . . . 192 Image-Based Lighting. . . . . . . . . . . . . . . . . . . . . . . . . . 194 Painting Image-Based Lights. . . . . . . . . . . . . . . . . . . . 196 14 Combining models with photographs. . . . . 197 Interaction: moving the model back. . . . . . . . . . . . . . 198 Interaction with Layer Masks. . . . . . . . . . . . . . . . . . . . 200 Interaction with cross sections. . . . . . . . . . . . . . . . . . 202 Offsetting cross sections . . . . . . . . . . . . . . . . . . . . . . . 206 Integrating models into the scene . . . . . . . . . . . . . . . 208 3D alignment with Vanishing Point. . . . . . . . . . . . . . . 212 Refracting the background . . . . . . . . . . . . . . . . . . . . . 218 Part four: Special projects. . . . . . . . . . . . . . . 223 15 More techniques. . . . . . . . . . . . . . . . . . . . . 225 Making it move . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226 Book building. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 Dancing the twist. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232 Filling a wine glass. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236 Complex material matching. . . . . . . . . . . . . . . . . . . . .238 Simulating multiple objects. . . . . . . . . . . . . . . . . . . . . 242 Divide and rule. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

About the Author :
Steve Caplin is a London-based illustrator, author, and journalist. He creates satirical photomontage illustrations for newspapers and magazines and lectures widely on Photoshop and digital imaging. His bestselling books include How to Cheat in Photoshop: The art of creating realistic photomontages, now in its seventh edition, 100% Photoshop: Create stunning artwork without using any photographs, and Be the Coolest Dad on the Block: All of the Tricks, Games, Puzzles and Jokes You Need to Impress Your Kids. He recently launched the 3D printing website 3DGeni.us, which aims to demystify and explain the 3D printing.