Illuminated Text with Bevel Effect
with this one. It's already set to black. I'm to create an illuminated objects, so it's, uh, actually sizes down. Does it need to be this big? Take this. Go three D three intrusion, Selected layer current view. It's gonna go through. I keep meaning to write myself in action to fix these common things. You always gonna find yourself dressing extrusion and just a few other things to kind of get it set up here. But actually this this another cool aspect. And we have talked about beveling. You saw me do some bevel effects. This is taking it to another extreme here. So the first thing is to go into the main text element, go to the properties panel. We're gonna go to that setting or the cap settings. This is where you find the bevel, and we're gonna go ahead and dial the bevel it manually About seven. I think you probably worked fine. Maybe a little bit higher. Let's go with 10. Now it's getting that cut into the be there a little bit, but that's flying. Adjust that. But now I don't want it ...
to be just a regular bevel right now. It's a standard 45 degree bevel. You know, I'm gonna do that. Gonna change the fight because it's it's not doing it right. Let's go with simple area. No switch there again, okay? And we're back. Okay? So once again, I'm gonna just that extrusion. Let's get rid of that shadow. There we go. Alright. So I've got the object selected in the three d panel back in the cap settings and like so we're gonna dial up that battling. OK, that's much better. Okay, I'm gonna dial this up to around 25 I think There we go. So, as I said, I don't wanna have just a standard 45 degree angle. Beveled. Here, notice every. Here, we've got this contour icon similar to the one you see in the layers of Evelyn balls, lair styling. You click on it. You can choose from a variety of different presets that are in here, but you can also click directly on the icon and open up the Contour editor. Now, what you're essentially seeing is that 45 degree edge at Think of it as a cutaway. Looking at it from sideways, you can actually go in here and add control points and modify the shape of this bevel. If I just do something like at and hit, OK, and they see it changed the contour of the bevel here. What I want to create is this kind of rim stroke around it. That's when I like because I went in dead. Or give the illusion the front face is embedded in here, not just sitting on the top. So if I go in there and let's adjust the content to bring this this in down to the bottom here and just to get rid of a control point is dragged out of the out of the window here, I'm just gonna give us a little bit of ah, arc like that and click. OK, so now I've got this inset front face and it's just simply applying that little arc on the bevel there. And we can still adjust the size of the Are the bevel as well. Once we got that in place, I'm gonna leave it where it's at. Now. I'm gonna go back into that cap setting and I'm gonna give the front face a little bulge. Put it about five. This time. That looks pretty good So now we've got much more interesting shape happening here. We hit the fall camera. Now, in the three d pan, I'm gonna go in here and select the extrusion material which is enforced the sides. I'm gonna go and create a new document for that one. A diffuse texture Rather set it to This is a simple base black color. So what I wanna do is only keep the bevel and the extrusion to solid black. So I am. So I have bevel material selective. I'm gonna go in there and create a document for the diffuse property as well. So there have that. Now I'm gonna hold down the command key with the bevel material selected, I'm gonna add the extrusion material to that selection with both of them selected. I'm gonna go over here and bring up the shine and reflection not to the full extent we gonna do like we did with earlier with the text is going to get that kind of plastic. You look about it. So now if I grab my current view and moving around, you can see it's reflecting that default ibl give me rather interesting look. So I'm gonna go ahead and create the new IBL right away. Rarely, ever. I don't think I've ever actually use the default ibl for anything. I was end up creating my owns. So again I go to the environment Property. Let's go in here to the properties once again do new texture 1000 by 1000 pixels here I'm gonna do just like I did earlier. I'm not putting it in an environment while I'm gonna put it on the texture of it. I'm not gonna do the simple oval trick. And I did earlier, the white Grady in inside of it. And what? The reason I do it that way is that it gives me a shape. There's a got a dark background, is gonna shape to it. And now that the oval simply has a sharp edge, but it's also got a faded edge to it. No matter where I position the IBL, I can get a soft fading edge or a nice hard edge, depending on high position it on the object. So it doesn't have to be a really complicated, complicated image, just something that has varying those varying elements that you can move around. So now if I grab the environment, property movements. And now I'm getting much better. Speculate glow on that. So But now go to that front inflation. And I'm gonna add illumination to this, so it's gonna give this. Okay, Let's go. What kind of a golden? Here we go. I'm having the front of the text emit some light and had a little reflection and shine to that illuminated surface so that it picks up the ibl a little bit Caesarean, See? So you kind of think of it is think of it as a plastic face of the text and there is a light inside of the tanks is basically backlit, But again, we need to put it in a environment where it will reflect that light. And that is where this other texture comes in the place. We're kind of doing similar what we did a moment ago. But this time I'm gonna make this texture again. I'm gonna make it a three d postcard. I'm gonna bring it above the text there. We've already established them lighting on the text layers. We want to maintain that. So he shared it with the background texture above it. Commander Control E to merge it down or select both layer is another method. The commander control is much easier because you just need to one layer selected and it just merges it down. But if you want to use another method, select both layers. Just add the shift key and select both layers or both three D layers. Be specific and then go to the three D menu. It just right here. Choose murder three dealers does the same thing is just another way of doing it. So now it puts that element those elements together. What I want to do is I want to have the text looking like it's sitting on top of that texture, not not hanging off a wall, but rather sitting on top of it. So over here in the three d panel, as I mentioned, we still have the elements separate. We can edit, so there's my background texture. So what with it selected, I'm gonna go into the properties panel and go to this coordinates tab and you'll see you've got three columns for position, angle and scale of the three D object. I'm gonna go in here into the X angle set up to 90 degrees and it puts that texture turn the background off. It's essentially like it's laying flat, like, I think, a piece of paper. It's like that now. So if I grab the blue Arrow here on the widget and drag it down and let's just modify our current view here a little bit now we've got the text sitting right on there. I'm gonna select the text element self and scale it down, and it's just kind of nudge it down here, limit more and you could see what you get down into the texture itself. It'll cut off and go right below and in public, I'm gonna put it right about there. I'm gonna make my background black here. So now I'm gonna make ah, camera adjustments must elect current view. Let's go with a little bit wider angle is gonna go with about 30. Look at that happy accident on a background, and it's just kind of like spotlight. Now we bring it closer. We've got this much more dramatic angle that we can see now It looks like we've got text sitting on a realistic surface that weaken we took pictures of, so But I'm gonna go in here and split the text ups. Remember that spell extrusion? I'm going to three D split extrusion, and you can actually rotate this a little bit. And then finally, we're gonna go in here, go into the environment or no, let's rather turn off the light. Turnout, the infinite light. Go back into that front face of the text, boost the intensity a little bit. And then, lastly, we've got to go in there into the background texture, set up some reflectivity on it and even boost the speculum highlight when we talked about speculator. If it's a lighter color, it allows more speculate. Highlight. I don't know a little bit fast. We're almost done. And if I start to render, what we should see is the front face of that text illuminating the texture just below. There you go. So it's admitting the light, and now it's illuminating texture so you can create it so you can see it now. So I had dialed up the intensity on the B, and you can see that's given me a much more enhanced glow on the six years we've essentially created electrical text that you can reposition and even adjust the color of. So even at this point you can adjust the color, the intensity of the light and even the color of the light and even and even the texture as well, so