Universal Commercial 3D Text Effect
Here's another one and this one's This one's really cool. This is one of those things of your designer and you want some serious well factor. You know, maybe a clients come to your your work and you need to get a quick and cool text effect. This is one of my go twos, gives you a really, really good result. And it's kind of similar to what the graphic you saw earlier with the pop and, ah, that I use that very technique on that as well. So we'll make a new document. This is I like to call this my cool commercial three d tex effect, because you can do it with almost any design, and it will add instant Wow factor, make another four is on a document. Here, there. Were you all right? So let's just do another text element here. Uh huh. So for this, I want to get some really bold text when you're going for this type of thing, it works better on really big live text. Big life takes big, thick text. You really want to see the surface, the front service of the text right there. So that looks real...
ly good I mean, format this a little bit. I like this there. It's a little too far over. Here we go. All right, so now I'm gonna give us a color. Let's give it a base color. I'm gonna do a yellow really fun of this kind of gold yellow here is going to fill the text with that color there. There we go. And what about the text set and format? And I'm actually gonna go and Oh, wow, Too much. All right. Make that a little bit bigger there. So go to three D. What? You have a text or a set in four minutes. And here's another point. Make sure it's centered in the document. The reason for that is when it creates a three D object out of this, it establishes the sender for lack of a better word center of gravity to the object based on the dimensions of the document urine. So if the center point of the document is right here, the object needs to the text object needs to be centered in order to establish a center point on the object. If I offset it just a little bit, it will still establish the center here, but it won't be the center of the object that makes sense. I want to make sure it's center. Before you do that, then we're gonna three d new three text regions like it later rotate. Remember what I did earlier. Grab my camera. Rotate it again, the extrusion bit much. So let's dial that back a little bit. Let's get and select the text element here. Let's pull this back. Maybe a little bit for those. Do you like 15? Now for the extruded sides? I'm gonna go into the three d panel and select that extrusion material here, and it did pick up the color as it extruded it. But I'm actually going to change that by going to the properties panel And right here at the diffuse property, you can have the option of changing the color manually here just by clicking on this watch and choosing a color or create a new document so you can apply a photo or texture as a diffuse layer. In this case, I'm just gonna create a document. It's gonna be a base color, so I'm just gonna make the Phil Black. Now you might think what are all those lines in the image I've had? People ask me this question. So if you get to this point, you see those lines don't freak out. It's just a visual aid. If you go into the properties panel here, you'll see the very bottom is a setting for UV overlays. This is essentially a visual aid. Think of it as taking the surface of a three D object and laying it out flat. And those lines indicate certain areas of the image just to kind of show you. If I grab the brush tool and move the brush over the image, See that? Well, across here appear that is telling me exactly where my brushes in relation to the object itself. So if I so it helps me better place, position it better. A better place position graphics all in three D in the service of a three D object using average allayed. In this particular case, it's not necessary. I just wanted to point that out in the event you run into that, so I'm not gonna close that. Save the changes. Now that extruded side is now black. I rotate my camera, learn it now again I do not need the drop shot or rather, the ground plane shadow. So once again, let's go in and to the environment. Let's bring out the zero now, The one thing we're gonna do differently, then what we did with the text a moment ago, I I increased the bevel and created that full devil effect. But we went to another feature and actually creates a really interesting result here is with the main text object selected. It turned back on my background were here. We're gonna go into the properties panel and we're gonna go back to That's the cap settings. This is where we did the beveling and, uh, and the angle in such like that gonna go further down. You'll see that there is an inflate section here. I'm going to go to the strength and dialed us to about three, and you could see it subtly. We're gonna see Make it mullet were prominent. What it does is it slightly bulges out. The front face of the Texan increases the surface area. Thus, when we add our reflected texture, it has a slightly curved surface. It gives it more surface area to see it and it bends the reflection. If it was just laid flat, you had to see a straight line. Reflection would be as interesting by adding a little bit of a bulge to it. It's gonna make it that much more interesting as you'll see in just a moment. So I'm gonna dial that at three. You don't go too crazy with because if you do the strength and go really up, you start to get a little bit of distortion that you don't really want. Unless you're going for that effect here. In fact, I'll show you if I just rotate the view, that's what's going on there. So that's Ah, popcorn area that's thinking outside the box that, like what? So there s so that's going to an extreme, of course. So that is just give you an idea and you'll see why I'm darling. This at three, and it's just giving me a very subtle push out of that tax there. Got a better see it, let's go and make a few other adjustments. So I'm gonna go back to the text object here in the three D panel, and we're gonna select a front inflation. We can see the front inflation. This time, we're not just seeing the the bevel we're seeing just the front. Inflation's going to go in here, take the shine and reflection and dial them up. I'm not gonna dial them to the 400%. I use 100% on Bush and a reflection when I'm creating full metallic looks like the like the gold you said a moment ago when I'm just wanting to create almost like a plastic look like it's reflecting light and like it was shot in the studio. I'll typically put the shine at around 75 in the reflection, and around 50 and right away you can see what it's doing with the default IBL. In fact, by going grab the environment property and rotate the ideal around, you can see how it very subtly goes right over the curved surface of that text there. So it gives me this much more interesting speculate highlights. But once again, I don't want to use the default image based light here, So let's go in there and change that because, as I said, the default is a bogus as ah, 50% gray background with the white dot that is essentially just putting kind of overcast glare on the object. I'm not seeing the full richness of the color here, so that's why I always tend to replace is gonna go and do new texture. Let's do 1000 by 1000 pixels again Go back in there. Gonna make the background solid black Some was gonna press command I And when it comes to an I b l, you can again plie apply anything you want a photograph, it's gonna be placed in a scene. You can apply the background image as an IBL when it comes to something like this. What I'm trying to go for is almost like it's really text that was lit in a studio can like lights like this. And you see that sort of reflection on there like like you would expect to see on like, plastic or glass wasn't like that. And I tried so many different images and shapes, and in the end, it turned out to be the simplest thing in this document in this ibl on that blank layer, I'm simply going to draw an oval shape and do a Grady int here. I'm gonna dio for around the transparent, radiant with White said, is my four run color. I'm simply going to start at the outside of the selection and just dragging a little bit like that. That is it. It is all it's gonna be. So my clothes and save the changes. And now if I grab the IBL and move it around, you'll see. I get a very there it is. Okay, I could just rotate it. And now I'm getting this really cool, subtle speculate Highlight on there, and you can move it around in a variety of different ways. I grabbed my current view and rotated around it. See, it responds to the IBL as I move the camera around as well, so you can go with really dramatic angle's gonna go in, give us a much wider angle lens here and drop this to like and we'll bring a camera a lot closer. We have it. Bring it to the extreme foreground here, But even once you've got an imposition, you can still custom or customize the position of that ibl and get that really cool kind of commercial plastic. Look to it. But that's how quickly you can add some serious well affected to the text. Now, while I'm at this angle here I go with the current view selected. This is a good chance to show you another interesting feature. Not only can you change the camera lens on the text to get a much more dramatic angle, you can also add up the field. I go in here, I must set the depth to to you notice it applies a blurred Sharpe over here, and it's blurry over here. If you hold down the option key, you'll see a little target appears. This lets you establish the focal point. So if I want the extreme foreground to be in focus in the background um not option click right here and it moves the focal point. And now the text has got realistic depth of field. If you do Orender typical do render. As I'm working just to see how things go look, you'll see a render start out grainy, and that gets more refined with each past there. But now, even if I move the camera around, you see the depth of field stays there. Now you're getting a much more realistic environment. This is really helpful. If you're dropping the text into a photo that has some depth of field, you can actually match it to a degree and make it look that much more realistic in there. One more thing I want to show with this one, we move that Texeira is. You can actually break the text up right now. It Z one, even though it's separate letters, still won three D objects moving around as a three D object that moves as one unit. However, if you go in here that the three D menu there is an item called Split extrusion now brakes. Each individual letter up puts it in a group. Folders you can see right here just made a new group here. If I twirl that down, you'll see that now we have properties for each individual letter so you can still manipulate the text as an overall group. But you can also go in here, and it is content sensitive so you can actually select a click on the text itself. Now select each individual element so you can actually pull them apart and make it look like there's Texas just breaking apart and falling all over the place. So I've done this, I've actually taken characters and search our photos of People look like they're jumping through our breaking through the text like, and it's kind of bursting out. Is it gonna, as I run through it and such, but it affords you the ability to manipulate each one. But you still can go in there and manipulate the whole group just by selecting the main folder and moving those elements around all different possibilities. Any angle you want like that so really quick and cool way of acting, I say quick and cool. But for me no, it's but it's one of those. It's one of the few three D techniques that what, you have a handle on it. It's one of the things we're like. What if I tried this where you know? So it's once you have the base there, then you can really use some interesting stuff with it. You can still go in here and change things like the color of the text. Now that you've broken apart, you'll only be able to change individual once you can change. I want to get a variety of colors on it like that, but you're gonna definitely do not like that. So far, it's all been fairly linear. Is it possible to put that in a round the curve like Cinemascope, for example, You like the universal logo. Maybe you not. Not in the what? You have to do it by in in the individual letter. What he's talking about is I think you're bending it on the Z axis. In a sense, Uh, no, it doesn't do that yet. I've been after Adobe for that for a long time. Um, what he's saying is, you know, if you look at the text frontal on everything if a curved around, it was like in the universal and that is what you mean, right? Either direction. Yeah. So right now, if you really want to achieve that, you have to do what I did here is put the extrusion and slightly change The angle of each letter in the three dimensional space would take a little bit longer, but you definitely can't do that. So as far as it being a feature that achieves that right off the bat, not yet. My question would be I noticed at the beginning of the process. You said your DP I to 100. Um, minute brought up the question. Is there a different different application for on screen and print? Uh, obviously, I would do it. A much world delusion, depending on the nature of the prince is gonna be a large for me. I used to do large format printing, and I would actually keep large format at around pixels per inch at the output dimension. I used the dimensions that you now because I'm doing something on screen, it's just mostly for demonstration purposes. For the sake of the speed, there were like, Yeah, because the larger files you get, the longer it takes special with three d longer, the more taxing three D becomes such like that, so it But it print I would, depending on the again. What type of printing I'm doing. I do probably do it at least at a minimum of 2 50 to 300. If I was, if it was gonna be a final print product, So So, yeah, again, that eventually be taxing. So that's why I don't do it unless I know it's gonna be a print element like actually had. Unfortunately, there are times I've done something in low rez for training purposes came out so well. I wanted to print it, so I had to go back and redo it so it's you could work large. It's just gonna be taxing. Um, but if you're not doing demonstrations like this and you know, I would probably start out using it very high. Rez. So but be aware if you're gonna be going to the three d what I usually do when it comes to, ah, high rez output, I'll build the base background and look at it through any and he's ever any three D elements. I will build a three D in a separate file because, as I say, if you built like, say, it will head sales doing upon 18 by 24 poster. If I started building my three d and e. T. 24 it's going to be confusing and taxing on the processor because it's establishing the three D environment based on those dimensions. So you want to make your three D objects in a smaller file, render them out on by smaller file. I mean smaller dimension, perhaps the same resolution with smaller dimension. Then bring it into your working file. That's just gonna make it easier to manage that