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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
- Sales Rank: #575567 in Books
- Published on: 2013-09-26
- Original language: English
- Number of items: 1
- Dimensions: 9.05" h x .50" w x 7.45" l, 1.10 pounds
- Binding: Paperback
- 256 pages
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.
Most helpful customer reviews
11 of 12 people found the following review helpful.
Table of Contents
By Lloyd S. Cheairs
I have been watching this book for awhile while Amazon was taking pre-orders, after it released I ordered it and I have just received the book and looked through it, I held off pre-ordering it because there is no information here on Amazon to tell what is contained in the book. The book was written for CC and can be used for CS6. I obtained the table of contents from a web search and have checked it against the book, they are the same.
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
The book has what I was mostly looking for, information on uv wrapping. The main thing I like about this book is that it is in the stile of the "Teach Yourself Visually ..." books. That is to say lot of pictures with numbered text descriptions or comments which point to locations on the screen. Also it is in a project format, where you learn by doing as you read the text. They mention the problem with DAZ Studio where when you load an object and it looks washed out and then you have to reset the colors, they show you how to do this. I love DAZ Studio, but hate the bridge between it and Photoshop. I had a problem report in with DAZ 3D for weeks and just could not get through to them that their bridge between DAZ Studio and Photoshop CS6 and CC did not work. I kept getting a code error message in Photoshop when I tried to use the bridge. There is nothing in this book on my problems with DAZ Studio, but be forewarned. Anyway I hope this helps. And I think it will be a good book to have.
4 of 4 people found the following review helpful.
Photoshop 3d made clear
By Amazon Customer
If you want to use 3d in Photoshop, this is the book to get. Since the documentation from Adobe is scanty, these clear, step by step lessons show you to how to do useful things with 3d.
3 of 3 people found the following review helpful.
Photoshop 3d objects
By Amazon Customer
There are no books I have found on the manipulation of 3d objects in Photoshop CS6 or CC except this one. The general books on this software are worse than useless on the use of 3d objects. Even on 3d, most of the time is concerned with extruding and manipulating text. I am trying to put furniture in empty houses for sale to give a sense of the spaces with furniture in them. This requires great precision on perspective and vanishing points for which I still need some good guidance.
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