Test Rendering Active Constraints Inactive Constraints Assigning Materials Extrusion Texture Mapping Contents 6. Mesh Quality Split Apart Functionality Interactive Rendering OpenGL on by default Allow Direct To Screen on by default Auto-Hide Layers on by default Ray Tracer off by default Ray Trace Quality Threshold Active Light Source Limit Simple Complexity Text and Reflections Creating Realistic 3D Product Shots Masking 3D Shapes for Effect Cover Art Breakdown Getting Started Creating the Layout Texturing the Walls of the Buildings Lighting the 3D model Adding the Wet Look to the Street Adding Localized Bump and Reflective Characteristics Adding Depth of Field and the Splash Equipment and Software Basic Lenticular Workflow Part IV Appendices Traditional analog photography combined the creative use of cameras with post processing in the darkroom.
Photoshop, in its early days, was largely inspired by the desire to move image manipulations to the digital realm in which they were more repeatable, convenient and expressive, allowing not dozens but hundreds of layers, and image transformations and effects not possible with analog processing. With the growth of 3D functionality in Photoshop, the creative potential is expanding in a new direction, in which it is the photographic studio itself that becomes virtual, with lights, cameras and models taking the form of algorithms rather than physical objects.
But there are a range of new artistic decisions to make in which the models themselves can be made of a wide variety of shapes and materials. Images take on a new role as surface textures applied to geometry, capturing the appearance and structure of substances rather than whole objects.
A 3D rendering might be an end in itself, or be part of a larger composition with captured imagery or 2D graphic elements. By integrating 2D and 3D tools into the same application, a new creative medium is possible in which layer effects and 3D rendering styles interact to produce images that would be expensive or impossible to make with either alone. Sometimes a designer will have a particular look in mind and carefully manipulate all the elements to produce the desired result, but just as valid is exploring the model by moving the camera and lights around until a happy accident of light and shadow resonate with the viewer, as happens with physical photography.
Firstly, the computational power required for high-quality imagemaking has only recently become main stream. Secondly, the creation of suitable 3D models is a large undertaking. Finally, there is a steep learning curve to high-end 3D production tools. The problem of model creation is being tackled in two ways. For many objects, models now exist in large libraries on the web, and using them for a particular purpose then becomes a matter of designing the textures and lighting for a given shot — something at which Photoshop excels.
While this does not solve the general modeling problem, it does make accessible the creation of graphic designs with embedded 3D elements that rival high-end packages. Combined with imported models and 2D visual elements, highly professional images are possible with a reasonable amount of work.
For photographers interested in learning how their real-world skills might extend to graphic design, or for graphic designers keen to grow their 2D talents into a world of depth and light, this book should serve as a good introduction. Early chapters focus on the elements of 3D image-making and how to control them in Photoshop CS5. After that, the readers should be well position to explore the creative potential of this new tool.
Listed below are the authors and contributors from the Photoshop 3D Team: Zorana Gee is a Photoshop Product Manager and has been on the team for over 10 years.
She has been involved with Photoshop Extended from the beginning and is instrumental in the 3D effort. She speaks world-wide on Photoshop and Extended and has a deep understanding of the whole product. He is also the coeditor of this book. Pete received his Masters in Engineering from Rensselaer Polytechnic Institute and has over 15 years of experience in the fields of 3D and image processing.
He has worked professionally in the illustration and desktop publishing fields since With his unique skill set and proficiency in many 3D applications from Poser to 3D Max, he helps to influence how Photoshop 3D features are delivered. Nikolai Svakhine is a computer scientist on the Photoshop team and a contributing author to this book. With M. Mark Maguire is a Photoshop 3D Engineer and a contributing author.
Mark received his Bachelors in Computer Science from the University of Massachusetts at Amherst and has been in the 3D, video and gaming field for 16 years. He has been on the Photoshop team for 5 years at Adobe and also worked on the LiveMotion team. His research interests include geometric modeling, intuitive interfaces for 2D and 3D design, animation, and information visualization.
He studied variational shape design for his Ph. His current research interests include the simulation and visualization of light interaction with matter. I also want to thank Domnita Petri for being an awesome and thorough 3D Quality Engineer — always keeping the quality bar high and Tai Luxon for stepping in and helping as technical editor.
His work has been seen in many magazines and scores of books. He has served on the faculty of many well-known institutions, lectured around the world, written many books and appeared on hundreds of TV shows. Bert hosts a weekly podcast called Pixel Perfect for Revision3.
Bert writes a column for Photoshop User and Layers magazines. Stephen Burns has been a corporate instructor and lecturer in the application of digital art and design for the past 10 years. Part of his exhibiting won him 1st place in the prestigious Seybold International digital arts contest.
He also teaches Digital Manipulation workshops in San Diego and is the author of several books published by Charles River media. His ability to bring together the world of design and software development is a perfect match for Adobe products. It is written by the Adobe Photoshop 3D team themselves as well as respected Photoshop industry leaders and educators.
The book has two overall objectives — to provide the ultimate reference guide for any creative professional new to 3D as well as to provide creative and inspiring tutorials that will walk you through the how-to of working with 3D in Photoshop CS5 Extended. Part I covers general 3D concepts that are important to understand before experimenting and designing with 3D.
In this part we explain 3D concepts in a way that anyone new coming into the world of 3D can understand so that they can have a solid framework to begin exploring. Scene 1. The 3D Scene A typical 3D scene has several elements which generate a scene when combined.
You can think of setting up a 3D scene in the same way you would set up a photography studio image above. First, you will need something to take a picture of your meshes. Second, these meshes will have materials on them such as wood, cotton, or metal. Third, you need to provide lighting to the scene with one or more lights. The term rendering is the act of taking a picture of your scene through your virtual camera using the lighting, material and meshes you have set up.
Meshes and Vertices 1. You may recall from doing graphing in high school algebra. If you made three of these points and connected them, you would have a triangle. If you extend this by adding a third axis z , you can plot points anywhere in three-dimensional space to create 3D shapes Figure 1. DOI: All rights of reproduction, in any form reserved. FIG 1. Extending this to a third axis z axis results in a triangle in 3D.
Objects in a 3D scene are described as collections of 3D points, which are called vertices. These vertices are collected into groups of three, which form triangles. These triangles are contained in groups called meshes. Prior to the time that these triangles are actually drawn, meshes can be described in many different ways. For example, the equation for a sphere represents a 3D object. Cameras There are two types of camera supported by Photoshop e orthographic and perspective.
Both kinds of cameras have a location, or where the camera is located in 3D coordinates, and a direction that it is pointed. Orthographic Camera An orthographic camera is mostly used in engineering and architecture e as well as in the 3D modeling process.
This type of camera has no perspective distortion which means that when moved, the object of interest does not change size or shape. This can be very useful when you are trying to align things in 3D space. Orthographic cameras have a scale, which represents the size of the slice it cuts through the 3D space. One thing of note here is that with an orthographic camera, moving an object further from or closer to the camera or moving the camera results in no change to the rendering whereas with a perspective camera, this will change the way things look dramatically Figure 1.
The bottom row shows an orthographic camera where both cars regardless of distance from the camera, appear to be the same size. Depth of Field In addition to the position and direction of the camera, Photoshop CS5 can also simulate the aperture of the camera. With these, you specify the part of your scene that is in focus and that which is not e in much the same way you focus a lens on a subject when taking a photograph Figure 1. The Distance control determines the plane in the scene where everything is in focus and the Blur control determines how out of focus the areas behind and in front of the focus plane are Figure 1.
Lights Visual perception is our perception of how light interacts with matter. Therefore lighting is a key component of a 3D scene, similar to the importance of lighting in photography. Generally, light interaction with an object is a very complicated process. Though the primary intent for 3D rendering is to reproduce the light interaction with materials, steps are taken to simplify and approximate these calculations. One such step is to limit the supported types of light sources.
In Photoshop CS5, four types of light sources are supported. A point light is a light source emitting light equally in all directions. You can think of this like a candle or a light bulb. These types of lights have position, but do not have a direction Figure 1. This is useful for simulating light sources that are very far away e.
Spot Light Spot lights are similar to photographic spotlights or automobile headlights. One way to imagine such a light is to think of it as a set of tiny point lights mounted on the spherical cage all around your scene where every point light corresponds to a single pixel in your texture map.
In natural scenes, objects are rarely illuminated by simple light sources only. Similarly, an object in an outside scene is illuminated not only by the sun, but also by the sky and the ground. Thus, an image-based light greatly facilitates modeling of real-world lighting environments. Instead of approximating every light in your scene with a basic light source, you can now just use an image-based light textured with a spherical panorama, which is usually much easier to create Figure 1.
This derives from the notion that by setting all the properties in a given way, one can create the impression that the rendered object is made of some recognizable substance, like plastic, metal or glass. Materials often contain textures Figure 1. This light source is depicted by the spherical widget with. Photoshop-Supported Material Properties Most Photoshop material properties have a base value either a color or a single value and a map.
The alpha channel in the map is then used to blend multiply the value at each pixel in the map against the base value. The color looks the same from all directions, similar to matte paint highlights and reflections both depend on the direction from which you view the surface.
Where each pixel on the left corresponds to a position on the sphere. Bump Maps Notes: If an environment map is not specified for a material, and an image-based light is, the color in the imagebased light will be used for reflections by default.
Bump mapping makes an object appear to have a bumpy or an irregular surface Figure 1. When you render an object with a bump-mapped material, lighter whiter areas of the map appear to be raised pulled forward , and darker blacker areas appear to be pushed back. Opacity Maps You can select an image to make an object partially transparent. Lighter higher-value values render as more opaque, darker areas render as more transparent e exactly the same as the way Opacity works in the Photoshop Layers panel Figure 1.
Shininess is the intensity or brightness of the highlights and glossiness is the size or spread of the highlight. Therefore, shininess needs glossiness to be used as an effect whereas glossiness does not need shininess Figure 1. Using a map for glossiness will alter where the highlights appear on your model.
Using a map for shininess will alter how bright the highlights appear on your model. The bump map is the grayscale image on the right where the color values determine if pixels are raised or pushed back. It can be thought of as luminous paint added to the total color and is independent of lighting Figure 1. Another way to think of this effect is how lava is self-illuminated with the color red. You can use selfilluminated materials on objects that represent lights to simulate things like car headlights, and so on.
White provides the most illumination, while black blocks the illumination completely. For example, the diffuse map might have small, yellow rectangles to represent windows, while the selfillumination map consists of matching white rectangles against black to illuminate the yellow windows. Normal Maps Normal Maps are textures used for simulating the lighting of bumps and dents on a 3D object e the direction in which a surface faces.
It is especially useful for real-time display devices such as game engines, and it can also be used in rendered scenes and animations. This means the RGB values in the texture are interpreted as a direction in space x, y and z, respectively. Often, normal maps are used to improve the render quality of a model with a low number of polygons Figure 1. A game designer, for example, might make a low polygon-count version of a model that they have. They will then use the high polygon-count version of the model to generate a normal map and then apply that normal map to the low polygon-count version of the model.
The shape on the far left shows a high poly-count model. The second. The third image on the left shows a low poly-count model without this normal map and the furthest image on the right shows this same low poly-count model with normal map applied, resulting in an improved render quality. For example, looking through a ball made of glass has a different effect than looking through a ball made of diamond. Note: See Chapter 2 for more on refraction.
They exist to define a two-dimensional texture coordinate system, called UV texture space. UVs are essential in that they provide the connection between the surface of the mesh and how the image texture gets mapped onto it. Basically, UVs act as marker points that control which points pixels on the texture map correspond to which points vertices on the mesh.
Textures cannot be applied to surfaces that do not possess UV texture coordinates. UV texture space uses the letters U and V to indicate the axes in 2D instead of x and y since x and y are used for the 3D positions of the vertices. The UV map will determine how the numbers or image are wrapped around the die. In most cases, you map and arrange UVs after you have completed your modeling and before you assign textures to the model.
Otherwise, changing the model will create a mismatch between the model and the UVs, and affect how any textures appear on the model.
Understanding the concept of UVs and how to map them to a surface, and subsequently lay them out accurately, is essential for producing textures on surfaces when working in any 3D program. Understanding how UVs work is also important when you want to paint on a 3D model. For example, if you paint a stroke on a single face of a die, the paint may in fact replicate on each respective face if the UV mapping dictates that the texture is tiled. This process is known as texture mapping.
Imagine placing a sticker onto a side of a bottle. The sticker represents the 2D image for decorating the surface. The necessary step is to determine where the sticker should go. Rather than mapping sticker locations onto the surface, it is more convenient to map locations on the surface onto locations of the sticker. This allows the pattern of the sticker to be repeated if desired across the surface of the bottle.
This mapping from points on the mesh e. If not, Photoshop will automatically UV map your models so that you can decorate them and paint them from start. When you paint or apply detail on that part of your 2D image, the colors show up on the respective part of the 3D model. By painting directly in 3D onto the surface of the model and Photoshop will automatically place any painted detail into the right corresponding place in the 2D texture. It may be necessary to start with a little painting in 3D before attempting to paint directly into the 2D image so that you can get your bearings on which parts of the image map to which parts of the surface.
The UV mapping process results in a correlation between the image and how it appears as a texture when mapped onto the three-dimensional surface mesh. UV mapping is a critical skill to master for accurate and realistic textures on polygonal surfaces. Any models created from scratch in Photoshop will have UV coordinates assigned and any models that are loaded from external sources that do not have UV coordinates will have them assigned automatically if you wish to have more control over how these UVs get assigned, there are third party applications to allow you to do this.
Even though many modern high-end graphics cards are able to support some of those advanced features, the intent to support a wide variety of mid and low-end cards led to the decision that those features would only be supported by the Ray Tracer.
FIG 2. The basic GPU architecture, however, only allows for a certain set of rendering calculations, which results in a limited number of visual effects. Because the driving force of GPUs is video game acceleration, one can trace the history of GPU capabilities by just looking at the effects you see in high-end video games over the different years.
Even though GPUs have come a long way since their inception, their basic architectural limitations make certain rendering effects, such as shadows and radiosity, hard to implement i. If this option is disabled on your system, check Photoshop system requirements and also be sure that the driver for your video card is up to date. In the ray tracing algorithm, we reverse these steps. However, this can be very time-consuming e taking several minutes to hours with a very large document.
The Ray Tracer in Photoshop CS5 uses a technique called progressive rendering, which continuously renders the image with a small number of rays per pixel.
Photoshop then combines the results of the current pass with previous results to progressively improve the rendered result. However, showing this noisy image is intended to provide the artist with a good idea of the lighting and where shadows will be cast. The progressive rendering can be interrupted at any time to make scene changes. A portion of the image is considered done when its noise gets below a given threshold.
This threshold is controlled by a Preference in the 3D preference pane Figure 2. Ray Tracing Effects There are several effects which are either only present with ray tracing or are much more accurate when using ray tracing. Shadows are only visible when using ray tracing. All four of the light types are capable of casting shadows, including soft shadows. In addition to casting shadows onto objects in the scene, shadows can also be cast onto a ground plane and these shadows can vary in terms of softness and opacity Figure 2.
Image-based lighting gives an artist the ability to use an image to simulate the lighting in a scene. If you have a broad range of light and dark areas, typically levels of light will not be enough. The extent to which light rays are refracted is determined by the index of refraction. Water has an index of refraction of 1.
See Table 2. TABLE 2. Refractive Index for common materials. You can find the setting for this in the 3D Materials Panel at the bottom of the panel. There are several other render settings in Photoshop CS5. We have created presets of these different types of settings that can be found in the 3D Scene Panel Render Settings menu Figure 2. Depth Map preset Using the Depth Map render style, you can render an image where black represents the farthest point in the scene and white represents the closest point Figure 2.
The most effective way to use this render style is to render in using a bit image with a Levels adjustment to specify a narrow range of values. The adjustment layer is optional; however, it gives you an easier way to see what is going on and edit the map. With this map you can generate a smoother 3D object. Normals preset Photoshop CS5 also has a render style where the normals on the surface of the object are visualized Figure 2.
This can be useful when you are looking White values indicate that those pixels will be the closest point and black values are the farthest. Bad normals can result in paint not being applied properly and incorrect renderings. Usually the normals over a smooth surface results in continuous colors of the map, hence smooth transitions of colors on the object. Note: For more information on normals see Chapter 1. In this part Now that you have a good foundation of basic 3D concepts from Part I of this book, we want to dive a little deeper and introduce all the 3D capabilities within Photoshop.
In this part, we will cover how all the great 3D technologies are integrated into Photoshop and how to get started with the tools. Getting Started with 3D in Photoshop 3. Of course, there will be quite a bit of back and forth between rendering your scene and re-adjusting the lights for optimal effects.
This chapter will cover the essential things you need to know about working with 3D in Photoshop. Note: For best performance, set your document up to screen resolution 72 ppi. If your final output is print, you can then scale up and re-render. This will optimize performance and speed when editing 3D. FIG 3. Select this workspace to open up necessary panels when working with 3D.
To get started, select the 3D workspace from the upper right corner of your application bar Figure 3. This will open the important panels when working with 3D that will be referenced throughout the chapter.
This panel has different views that dynamically update based on what component you have selected in your scene graph or in your Layers panel. The initial view will have controls that allow you to create or open 3D objects. This is described in further detail in the next section. The first button shows you your scene graph, or scene components meshes, materials and lights as well as the scene properties you can edit. The second button filters out your meshes and lists out all the meshes in your 3D layer, or scene, as well as Mesh properties that you can edit.
The third button filters out your materials and lists out all the materials in the scene as well as Material properties that you can edit. And lastly, the fourth button filters out your lights and lists out all the lights in your scene as well as the Light properties that you can edit.
Each view of the panel and its associated properties will be discussed further in later sections. How to use these tools will be described in the following sections. At the bottom of the panel there are three buttons. The button in the middle is used to create new lights it will only be active with a light selected.
The delete icon on the far right will delete whatever light you have selected in the scene graph. Note: Overlays are dependant on OpenGL. Be sure that you have this option on in the Performance section of your Preferences.
Importing 3D You can either download models from 3D content providers and open them directly in Photoshop or create your own 3D models. There are many 3D content providers that have objects supported by Photoshop. You can download this plugin from www. A postcard is also useful if you want to generate a plane to catch reflections, shadows, lighting, effects, etc.
You can orient the plane perpendicular to your object and then merge the 3D objects together to a single layer. This is a great way to get started with basic 3D objects Figure 3.
This feature allows you to extrude these layers to 3D geometry where many different extrusion parameters can be applied i. This is useful if you want to generate meshes with more precision; this is especially true if you use or bit images, since you now have pixel level control over the appearance of your mesh. Note that once created, you can open up your grayscale image and re-edit it and your mesh will be regenerated. The volume is an interpolation between layers and not real 3D geometry.
This means that no mesh is generated and you cannot apply many of the 3D capabilities to it. This is primarily important for medical professionals working with DICOM images or frames where viewing a volume rendering is useful. However, there are interesting effects you can create by simply taking multiple layers raster or vector and interpolating between the pixels to generate a volume Figure 3.
Navigating 3D There are many 3D tools in Photoshop to help you manipulate your scene components objects, meshes, cameras and lights as well as tools that help with selecting and applying materials. The easiest way to manipulate positions of scene components is with the 3D-Axis Tool Figure 3. An icon in the upper left of the 3D-Axis will indicate which component you are adjusting and the yellow handle will appear when adjustment that type of movement.
Be sure you have this option on in the Performance section of your Preferences. You can also individually select scene component movement tools i. All tools can be assigned shortcuts.
For a deeper dive on materials and what each property means, read Chapter 1: Section 1. Often, because materials are made up of different properties i. See Chapter 2: Section 2. Material Library and Browsing Materials Photoshop now has its own material library and presets.
By default, Photoshop installs two sets of presets. One default set of materials is heavily 3D in Photoshop. The other set is less dependent on the Ray Tracer as it inherently has less lighting properties. However, you will likely still get better output if you Ray Trace these as lighting set-up in the scene can also affect how the material will look.
You can also save your created or edited materials as custom presets. Then, click on any material Tool from the Material browser. The Material Selector Tool helps you to easily identify where in your scene graph the targeted material is Figure 4.
Note: You can choose to turn on Selection overlay to see a boundary overlay around the selected material. The color of the overlay can be changed in the 3D section of your Preferences. Alternately, you can load a material from your material presets by using the preset fly-out in the options bar Figure 4. FIG 4. Changing Material Color It is very easy to change the color of your material and there are several ways to do it.
The simplest way is to double-click the diffuse color and select a different color. You will have to change the colors in the actual texture image or delete the texture and then double-click the diffuse swatch.
You can open up this texture via the little popup of this same icon Figure 4. If you fill. For greater detail on what these maps mean, refer to Chapter 1: Section 1. The most common maps to paint on are diffuse maps, opacity maps and bump maps. Photoshop 3D painting uses a projection-based model. This means that your 3D object has to be positioned in view so that paint can be properly applied. How the paint gets applied depends on the position of the object as well as scale.
There are many tools in Photoshop that help with painting in 3D. This will give you a marquee selection around ideal painting targets. Further, if an area falls out of this selection, you can reposition the object and reselect the paintable areas until your target falls within the selection. The Paint Mask Render setting is another useful tool to help with optimal positioning of your 3D object while painting. Paint Mask mode is important to show you which area of your model is ideal to paint on.
At this scale and position, it is best to. You can tell that the red areas are not optimal for painting as they are either not scaled correctly or not positioned directly in front of the screen. In this mode, you cannot paint, but you have a simple way of visualizing what areas are ideal to paint on with the current 3D position. Areas mapped as white are ideal to paint on, areas mapped as blue are less ideal, and areas mapped as red are not ideal to paint on i.
You can rotate your object or scale until the areas you want to paint on are mapped as white. You can set the minimum and the maximum angles at which the paint falls off the edges by using the Paint Falloff command in the 3D menu.
Painting on Unwrapped Textures On a Photoshop 3D layer, you can paint directly on the 3D model, or open up any associated textures and paint in 2D space. These are layers that get generated which serve as a guide when editing your unwrapped texture.
Reparameterizing UVs In Section 1. It is important to note that this will mean that any textures currently applied to your model will no longer line up in the same place.
Unfortunately, due to the limitations of the algorithm this means that painting on your textures by opening them will be nearly impossible due to the texture fragments being broken up into many pieces; therefore, it is recommended that you paint directly on your 3D objects if you have reparameterized your UVs. Tiled Painting The Tiled Painting command takes the image and converts it into a tiled 3 3 grid.
This is extremely useful in creating textures where you might want edits on edges to wrap around to the other side, or to remove seams to generate a larger patch of texture. Essentially, any edit you make will be repeated in the other tiles Figure 4. After running the command to create new tiled painting, Photoshop will generate a 3 3 tiled grid. The far right image shows a paint stroke brown on the edge gets repeated at all seams.
Photoshop essentially generates a 3D plane where the center image is the original texture. If you double-click on the diffuse map that was generated, you will have the image that you started with and all edits will be applied to this diffuse map. Many painters use this feature so that they can have their paint strokes that fall off the edge wrap around to the other side.
Lights, Shadows and Final Rendering 5. Light Types Photoshop ships with many light presets which you can use to light up your scene. From the 3D Lights panel, you can easily select a preset from the dropdown menu. There are four types of lights you can add or edit in your scene.
For a detailed description of these sources, check out Chapter 1: Section 1. Positioning Lights and Keyboard Shortcuts One way to position lights is to select a light and a light tool and use the 3D-Axis Widget to rotate, pan or slide.
You can reposition your lights by using the on-canvas light widget Figure 5. FIG 5. If you turn on 3D Light overlay you can place your cursor over the widget red by default and reposition your light directly on-canvas.
There are a couple of tools in Photoshop to help with this process. Two more commands found in the 3D Lights panel can be very helpful. For spot lights, you can click on which will point the light at the center of your scene. This is useful if you ended up getting your spot light point off in an undesirable direction and are having a hard time getting it pointed back at your scene.
For all lights, you can click on which will bring the light to where your current camera is for light types that have a location and point it in the direction of the camera for light types that have a direction. All light sources have a color and intensity applied and, further, they can have shadows generated from them.
You can turn shadows on or off for individual lights as well as adjust the softness. The Shadow Opacity of a mesh determines how opaque the mesh is considered to be when casting a shadow.
When an object should not cast a shadow at all, set the Shadow Opacity to 0. Brighter Global Ambient Colors produce lower contrast shadows. Adding and Editing Shadows Shadows are an important element in creating a realistic look or adding a creative effect to your design. JavaScript is disabled. For a better experience, please enable JavaScript in your browser before proceeding.
Photoshop CS5 Solutions to common problems. Thread starter Steve Start date Oct 31, Steve Retired Administrator. Messages 7, Likes 1, The first thing that you should do if you have any problems whatsoever is to apply the latest Photoshop updates and update your video card drivers. Updating the video card driver may solve the problem, or you may need to contact the GPU maker to let them know about the problem. Problem: Hand Tool is stuck and selecting tools doesn't work Solution: In most cases this can be solved by simply tapping the space bar Problem: Brushes don't work Solution: Move the pen away from your tablet.
If that doesn't work then update your tablet drivers. Last edited: Dec 18, More Photoshop CS5 issues.
Messages Likes 1. Steve, could you link to Last edited: Dec 17, Adobe Photoshop The Adobe Photoshop The most significant fixes in the Photoshop Well, as of today, the version of Ps CS5 for windows is Messages 1 Likes 0. Hello, question. Designers, check out these contests so you can start building your career. Get a design. We will be using the 2 textures below to give our 3D text some character.
Material 1 : This texture will be used for the text. Material 2 : This will be used as the background. You can change the text perspective to whatever you like. Then, in the 3D materials tab , choose Load Texture and pick Material 1. This is the final result: What tools do you use to create 3D text? You're in! You proved us right again. Our newsletter is only for the coolest kids.
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