Adding 3D Elements
Let's take that flare element a step further. Let's go back to the original file of the ring flair we have here. As I said, we'll get back to adjusting these things I never want to get when you're building these composites, I guess with a lot of special effects, you kind of get the elements in place and get the effect started. And then as you add more elements, you're gonna find yourself tweaking things as you go. So you might. I may may find myself adjusting the intensity of the flare in just a minute, but it's enough is in place for me toe say Okay, I like where that's at. Let's bring in the next element. What I want to do now is bring in the elements and want to put in her hand. Now I want to carry this ring flare kind of motif throughout the poster. I mean, we'll have the element surrounding her like I've got it, but I want to say I also want to put it smaller around her hands like she's conjuring this little light effect here. But I want to do that using three D. Yes, I said three...
. Those that. No, me. Those that no me or watching right now are thinking he's finally getting in the three D. Now this is just a little piece of three. Do you know it's a really cool effective and it's taking a two D element, putting it in three dimensional space. So it's still a flat element, but we're giving it three dimensionality. Um, it just results it really, really interesting effect. So, as this is, we're gonna take this ring element. It's on its own layer. Here. Gonna go to the three D menu, got a new mesh from layer and choose postcard. Now what postcard does is it keeps the image they flat, two dimensional image. However, it is now in a three dimensional space. So if I go and get my three D tools here, bring lower the mill layers panel two panels you need tohave open when you're working with three D is the three D panel and the properties panel. So I go in here and grab the three D object, which is layer mesh one here. And if I just grab, move right outside here, move us around. Now you can see it's in three D. So it's moving around in a natural three dimensional space. So now me reset that. But as I usually say, Why stop there? I'm gonna move that element. Just give it a little bit of an angled turn right here. And now what I'm gonna do is go into that same three D panel while I have that layer one mesh selected, which you can you re name, by the way. Well, let's call this ring. It's like the layers panel. You can actually just rename these for a better arrangement. This is probably the I can't even spell flares. Nobody got that. Okay, well, name that. So with that selected, I was gonna go to the three d panel pop up menu here and choose instance Object? What that does is it creates a second incidence of that flare that is linked to the original. So, like a smart object. If I make a change, the original, it will affect this one. This question was posted by J Stoop, and they want to know a little bit more about the flares they want to know. Can you add flares to a library so that you can use them on several different documents. Absolutely. Um, uh, to the library's panel info. Yeah. Actually, when you have a flair created or pulled on its own layer, just drag it to your libraries. Family. You can pull it anytime you want. I have them saved his brushes because the thing about saving into a library, it's gonna be one specific size, right? As a brush, you consigns the brush and do whatever you want with it. You can actually change the behavior of the brush to do really chaotic things with the flares as well. So, yes, you can do the libraries. I would suggest doing it in the in the brushes, though. Any questions from our studio audience here? Well, we're getting this loaded up. Yeah. Mesmerise. Okay. I don't know what my fear was. A question in the front, Pastor Mike, how long does it usually take you to do a poster from start to finish? Uh, 95% of the time. I'm doing these in one sitting. Sometimes I do it into I don't have the patience to wait to sit on a project for weeks at a time. Yeah, Most of the time, I'll do it in two or three sitting to other things, but a lot of times it's just one. Yeah, so a lot of it's working out ideas as I progress. I do a new one poster and I said, I'll bring the technique into a new one as you refined techniques. It just makes you work for that much faster So but if I if I'm in Discovery mode, if I'm experimenting, I don't really put a time limit on it. It's kind of play with it until I come up with something. So when it comes to finding ideas and refining technique in Photoshop and always always tell people this, you see a poster that grabbed you like the design of it you liken affected. It tried to replicate it as it is, like take a picture of it or pull it from do a Google image, searching like, and this try and match what they've done. What that does is it helps you refine your technique and figure out problems and going when you take it to your next design project. So I'll see a poster, and I'll do it verbatim as it is, like I just recently played with recreating the rogue. One poster, the Star Wars Rogue one Because pixels squid is a three D ah, vendor. They have a lot of Star Wars objects on there. So I was like, Oh, they had a lot of road one stuff. So I played with creating the road. One poster, Actually. I pulled a lot of different techniques just playing with that that I didn't have before. So So even an exercise like that, we'll give you a technique that you can use later in something else. So, people, I mean, not a reason why Don't teach that something like that is not everybody wants to know how to do a Star Wars poster, but they do want to know how to do that cool effect in the Star Wars poster. So that's what I do is I take that, figure it out and pull it in there. So all right, so I'm gonna do this flare thing one more time, and that's probably a good thing. Those I didn't see it make a little smaller. Okay, quick recap. So we do the filter to Stuart Polar coordinates. Three D postcard. You really did have a quick question. Yeah, Nancy. Want to know? Where did you go for those polar coordinates? Maybe you could just show that one more time. Sure. So when I got my lair selected, it's gonna go to filter. Go to the Stort. Right here. Polar coordinates. And you've got to settings. This is the problem. The easiest filters in photo shop, you have to check boxes. Rectangular two, polar on polar rectangular. So rectangular. The 1st 1 rectangle give you that rounded one. The other one kind of distorts it in the outer direction. This one kind of wraps it in this way. So So. Like that. Thanks. I just did it to my existence. All right, So you could see it created an instance. Layer one match. I don't know why it was in doing that, but we're here. So now if I just take this instance and now I can rotate it. Well, looks like it's a separate element. If I grab the main object now, group it in. So now I can treat those elements. I'm going for, like, this kind of Adam, Look, you know, it's got the rings position this one right about like that. Let's take this one and rotate it around. They can use the widget. Here you can Freehand manipulate three D object like this, but there's this widget that always shows up when you select a three D object. Just moving your cursor over any of the functions like a Swiss Army knife for three days just kind of rotate over it and you can rotate the objects. You can actually scale them on a particular access like this, making it more oval shape. You can manipulate that a lot of different ways. I'm gonna do something like this. I think that's good. Let's hurry up and bring it into our poster before decides to do something else. Now many drinks. And now this brings up another point. Up till now, you've seen me take two D images, and I just grab the image inside the document Dragon, drop it to the to the to the target file. In the case of three D objects, though, there's a little bit of a chaos when you move something, you can't just grab a move tool and nudge it over, because when you select a move tool in a three d ah three d layer, it selects a three d tool. So I just grabbed the layer itself and dragon, drop it over to the document. There he goes. Now, go in here and to the object itself, and we're gonna manipulate the color. So, as I said, when you make a change on one, it's gonna go ahead and apply that to the other one. I want to put a little bit of a new illumination on this, and that's gonna brighten up the image a little bit because he got a little bit brighter. Now I want to do is I'm gonna position this right where I wanted to be in the subjects hands and use the scale tool in the box in the middle of a little yellow cube. That is the overall scale tool for the three D objects. Gonna bring it down and we're gonna bring right around her hand there. And, of course, once I have it there, I can rotate it around to get a better positioning and over get You can rotate the objects individually as well. So, just like that, spin it around like that. Maybe you could spend a lot of time What? It gets back Western earlier. I spent a lot of time this positioning things to get him just right. And when you think they're perfect, you go on, nudge it again.