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    Bring Your 3D Work To Life: Photoshop Masterclass

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    Kadriank
    The document is a tutorial explaining how to bring 3D artwork to life in Photoshop. It discusses using textures, channels, and effects to transform basic 3D models into mixed-media masterpieces. The tutorial walks through applying textures, gradients, and brush strokes to add detail and realism to a sample 3D robot image. It demonstrates techniques like generating selections from paths and channels, adjusting layers and effects, and integrating additional image elements to complete the illustrated work.

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    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd

    Bring Your 3D Work To Life: Photoshop Masterclass

    Uploaded by

    Kadriank
    98 views3 pages
    The document is a tutorial explaining how to bring 3D artwork to life in Photoshop. It discusses using textures, channels, and effects to transform basic 3D models into mixed-media masterpieces. The tutorial walks through applying textures, gradients, and brush strokes to add detail and realism to a sample 3D robot image. It demonstrates techniques like generating selections from paths and channels, adjusting layers and effects, and integrating additional image elements to complete the illustrated work.

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    3D

    Original Title

    Art121 Part

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    The document is a tutorial explaining how to bring 3D artwork to life in Photoshop. It discusses using textures, channels, and effects to transform basic 3D models into mixed-media masterpieces. The tutorial walks through applying textures, gradients, and brush strokes to add detail and realism to a sample 3D robot image. It demonstrates techniques like generating selections from paths and channels, adjusting layers and effects, and integrating additional image elements to complete the illustrated work.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    98 views3 pages

    Bring Your 3D Work To Life: Photoshop Masterclass

    Uploaded by

    Kadriank
    The document is a tutorial explaining how to bring 3D artwork to life in Photoshop. It discusses using textures, channels, and effects to transform basic 3D models into mixed-media masterpieces. The tutorial walks through applying textures, gradients, and brush strokes to add detail and realism to a sample 3D robot image. It demonstrates techniques like generating selections from paths and channels, adjusting layers and effects, and integrating additional image elements to complete the illustrated work.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 3

    | TUTORIAL

    DOWNLOAD

    PHOTOSHOP MASTERCLASS: PART 3 OF 3

    BRING YOUR 3D WORK TO LIFE


    TIME NEEDED

    30 minutes
    INFO

    Derek Lea
    is an awardwinning
    illustrator
    and author,
    whose work includes
    disciplines as varied as
    illustration, vector work,
    3D modelling and
    Photoshop trickery. He
    lives and works in
    Toronto, Canada, and
    teaches illustration at
    Torontos International
    Academy of Design. You
    can nd out more about
    the man and his work at
    www.dereklea.com.

    62

    April 2006

    In the nal instalment of his three-part series, Derek Lea explains how at textures, channels and paint effects
    can be used effectively to complete the transformation from untextured 3D to a mixed-media masterpiece
    A few years back, after the initial
    novelty of working in 3D wore off,
    digital artists began to feel a little limited
    by the results and drifted away from 3D
    techniques in droves. In many cases this
    was a wise choice, because 3D software
    can be difcult to master, especially when
    trying to achieve your own unique look.
    Every artist wants their work to stand out
    from the crowd, and rightly so.
    However, the adverse effect of this
    trend has been that now 3D is often
    overlooked as a starting point for
    illustration. As Ive explained in the rst
    two parts of this series, some textured
    images and Photoshop tools are all that is

    required to transcend average 3D art and


    create something beautiful from it.
    In the nal part of this Photoshop
    masterclass youll nd out how to give
    your illustration a tactile and original feel.
    Youll see how colours, textures and the
    other techniques youve learned all
    complement each other. And, hopefully,
    at the end of it all youll be convinced
    that 3D is as valuable a raw material as a
    digital photo. If you didnt complete part
    two, or didnt save your work, a starter
    le has been provided on this issues CD.
    Illustration and tutorial by Derek Lea
    www.dereklea.com

    Either open your saved le, or open


    the starterle.psd from the CD.
    Next, open the le named bkd.tif and
    use the Move tool to drag it into the
    starterle.psd as a new layer. Position
    the layer above the background in the
    Layers palette and click the Pen tool.

    TUTORIAL |

    Again, generate a
    selection from the path
    you created previously. Then,
    in the Layers palette, create
    a new Hue/Saturation
    Adjustment Layer from the
    menu at the bottom of the
    Layers palette. Increase the
    Hue to 180, reduce the
    Saturation by 65, and
    increase the Lightness to 13.

    USING ALPHA
    CHANNELS
    Alpha channels can be
    created in the Channels
    palette either by
    selecting New Channel
    from the Palette menu
    or by clicking on the
    Create New Channel
    button at the bottom of
    the palette. You can
    generate a selection
    from a channel by Ctrl/
    Command+clicking the
    channels thumbnail.
    You can also generate
    a selection from a
    channel by selecting it
    in the Channels palette
    and clicking on the
    Load Channel As
    Selection button at the
    bottom of the palette.

    Use the Pen tool to draw a series of


    closed path components that surround
    untextured areas of the main robot, as well
    as the cables that suspend the others.
    Generate a selection from the new path in
    the Paths palette. Open the le paint.tif from
    the CD. Select All and Copy.

    Use the Pen tool to


    create a series of path
    components surrounding
    holes in the main robot.
    Generate a selection from
    the path, create a new layer,
    and select the Gradient
    tool. Use the Foreground
    To Transparent preset and
    Radial method to introduce
    a variety of different coloured
    gradients into the selected
    areas. This will add variety
    and a sense of realism to
    your creation.

    Create a new layer and use the Pen tool


    to draw a light beam shape extending
    from the characters funnel hand. Generate
    a selection from the path and then use the
    Gradient tool as before to introduce a yellow
    and white Radial gradient into the selection.
    Change the Blending Mode to Overlay.

    Now target the top layer in the Layers


    palette and choose Edit>PasteInto from
    the menu. Duplicate the new masked layer
    and reduce the Opacity of the duplicate layer
    to 32 per cent. Duplicate the new layer,
    change the Blending Mode to Overlay and
    increase the Opacity to 100 per cent.

    Deselect and then use the Gaussian


    Blur lter. Duplicate the layer and
    change the Blending Mode to Screen.
    Create another layer with a Screen Blending
    Mode and reduce the Opacity to 24 per cent.
    Use the Pen tool to draw a path component
    to surround the inside of the eye.

    Enable the Subtract From Path Area function and then carefully draw
    a second path component around the main pupil shape. Generate a
    selection from the new compound path in the Paths palette and ll the
    selection on the new screen layer with white. Next, create a new layer
    and deactivate the current selection.

    April 2006

    | 63

    | TUTORIAL

    PHOTOSHOP CS2

    Select the Brush tool, open the Brushes palette and scroll through the list of available
    presets until you begin to see the chalk, oil, and pastel tip presets. Select one and
    enable the Wet Edges and Smoothing options. Set the Brush Opacity to 50 per cent.

    12

    Select a pink foreground colour from the picker and ll the active
    selection on the new layer. Deselect and open the shapes.tif le. Select
    and Copy the image. Again, create a new channel in your working le and
    Paste the copied image into it. Position it at the upper left and generate a
    selection from the channel.

    10

    You can now begin to paint brush strokes on the new layer, building them up in areas
    where you want them to be more pronounced. You can sample colours from the
    background as well as choosing new colours from the picker. For a more natural effect, alter
    the Opacity and size of the brush stroke as you go.

    CHANGING A
    COLOUR FILL

    11

    Open the bubble.tif le from the CD. Select All and


    Copy. Return to the le you are working on and create a
    new Alpha Channel in the Channels palette. Paste the copied
    black and white image into the new channel and position it in
    the upper left-hand corner. Generate a selection from the
    channel and then create a new layer.
    64

    April 2006

    Foreground and
    background colours
    can be used to ll your
    active selections or
    current layer. Simply
    hit Alt/Option+Delete to
    ll a selection or layer
    with the current
    foreground colour. To
    ll with the current
    background colour, hit
    Ctrl/Command+Delete
    instead. Changing a
    foreground or
    background colour is
    as simple as clicking
    on the swatch in the
    toolbox and selecting
    the colour you want.

    13

    Create a new layer and ll the active selection with a dark green
    colour. Deactivate the selection and then use this same method to
    create Alpha Channel-based selections from the bits.tif and pieces.tif les,
    lling the selections with different colours on new layers at the bottom
    right-hand side of the image.

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