Lessons

Lesson Info

True Beveled Text Using 3D

first of all I want to do is what I call a true beveled text. Truly beveled tanks. What I mean by that is when you do a bevel effect with a layer style, you're simply getting the look of a bubble. Thinks it's it's still two dimensional. Just give you the illusion of death with a lighten, dark edge and stuff like that. But what I want to do is show you how you can actually achieve, actually beveled text using three D photo shopping. Once you have it, you can actually do a lot of different surface effects to it to make it look a little bit more interesting. So going into photo shop here and let's create a new document file new, and it's going to make it 2000 by a thousands. Go with a horizontal format. Here, we're gonna make the background black. I'm gonna go and set some text here and let's get a fictional title. What's a good fictional title? Anyone? I got put on the spot, didn't I? Now I'm just gonna do well to see photo shop with Carrick. All right, so I'm just gonna go and do and wh...

at's going Skilling up. Now. Of course, it's using Trojan, which is probably a pretty good fun. But I'm gonna use a fund that I have that really kind of sets the mood and demonstrate this technique well, it's cold ring bearer and anybody. No, I guess it's I guess the name of the fun alone gives it away, but I really like it. It's got that kind of like kind of has that kind of Trojan look to it, but it's got some distress to it. You can see the edges are a little messed up or some little dings, and here and here and there it's gonna add to the overall effect here. Now I don't want it to be on one line. Let's actually take this and put week below obviously gonna change from formatting here. Which gives me an opportunity to show a couple of formatting tricks. No, but my character panel normally I format text with keyboard shortcuts, but I want to show you when I'm adjusting. I mean, just the line spacing here will assist. Bring that or the leading rather and is gonna use the space bar. It's got a nudge us over on this kind of position it right there now that now he's in a keyboard shortcut is just option or ult. And then the up and down arrow simply dis adjust the spacing there, and it's gonna know Jet over to sell a little bit more. Now, I think for just more cinematic look, I'm gonna put the at the top. It isn't just any Photoshopped week. It is the Put that right about there now the tea, the tea of the word the is dropping below the baseline. That's the nature of the fund itself. I don't want to go that far down some good. Just gonna select that one letter and then go down here to the base line shift setting in the character panel and just use the scrubby slider just to drag that up a little bit. There we go. Just that's positioning vertically there again. So I go in, center the text in the canvas, here's to a command day and then select to select all and then just vertical and horizontal center there. There we go. Now I think I want to make the overall word here a little bit smaller as well. There you go, and by doing that knocked that t down every ***. All right, so everything's format and now we're ready to go ahead and put it in three D. So before I do that, I want to go into the background. I'm gonna make the background white. Now what we're ultimately gonna be going for here is the text to be like gold, like a metallic gold. That's kind of been got that bevel effect. When you're creating text, it's gonna be three d and you want to have a metallic look. You want the base color of the text to be solid black, so that will reflect the elements just right. It was gray or white, you'd see Ah, glare on the surface and it really wouldn't look right. So a solid black on the text and were to go to the three D menu here, Angus, choose new threat extrusion from selected layer, and it goes ahead and extremes attacks. Now gonna go in here and grab. We're actually open. You need two panels open when you're editing. Three d one is the three d panel here again, another window menus of There's three D and the properties panel because whatever property you select in the three d panel, you will see the settings for in the properties panel. So, for instance, if I go and select current view, which is the camera that we're looking at this object through, you'll see the camera settings right? Overhears you can actually change the lens and such like that. So any setting you click on in the three d panel here, the settings, the corresponding settings, Aaron, the properties panel. So now you can see why you need to have both open. You can actually docked them with each other. If we just drag this over when you see the blue line here, now it's confection is one panel, so you don't lose him. So what I wanna do is grab the current view. As I said, That's the camera. We're looking at the object, and just so we're clear, I want to talk about the difference between moving the camera and the object in the scene here. So when I moved, the camera is gonna go up here into the toolbar, you'll see we got a variety of different three D tools, and these allow us to manipulate position of the cameras. If I just grab it and rotate here, you can see the depth of the text. We're gonna just that in a moment. But as I'm moving my view around, this is actually sitting on an invisible ground plane, which I will make visible. There it is three d Grambling. So there it is. So as I move my camera around, you can see that it's It's It's a Ziff were kind of flying around the element. It's staying static on the ground. So that is moving the Cameron I usually like to Do. You use the camera move when I'm adjusting certain aspects of the three D elements I'm gonna hit. Default camera here is gonna bring it back to the default front view when you select just the main object here in the three d panel, which is the text element and use that same rotates well, now I rotate it. Now it's just rotating the element you'll notice to ground planes stays put. So that is the difference between moving the object and the camera. And the reason I point that out is because let's say you're in a in a scenario and you move the object around. And then you go when you grab the camera and move it around. And you think, Well, I gotta go back to that default view. So if I had to fall camera and then you freak out because it's not in the right position, why I hit the fault. Now you gotta reset the position of the object. We've reset the camera position. Now we're gonna reset the object. So go and select the object again in the three d panel. Go to the tabs at the top. There's these four little tabs on top of the properties panel here. We're gonna go to the very last one, which is the coordinates tab. And at the bottom, you'll see these 2 to 2 buttons, reset coordinates and move to ground when you click on both of them, and then it brings it back to its original home position. So I always I always like to point that out in the event somebody runs into that scenario. That is what's going on there. So now that we know that I'm actually going to turn off the ground plan, I do not need it. For the moment, I'm gonna grab that camera and rotate my views. And now you adjust the extrusion that death is a little much than what I want here. So I'm gonna select the text object here in a three d panel over in the properties panel. Those tabs at the top. I'm gonna click the very 1st 1 which shows us the mesh properties. Read on here. You'll see a slider for the extrusion depth. And this is a live change. So if I move the slider down, you'll see it automatically updates the depth of the extrusion. I'm gonna bring this down. Ah, do about and they hit. Reset the default camera here. There we go. Now, also, you'll see that there is a default ground plane shadow being generated. When you create a three D object, it creates a default light, and it default, shines out or cast that shadow onto the ground plane. I don't need the shadow in this particular case, so I'm gonna go into the environment. Property is at the very top of the three D panel here. Go right down to the ground plane settings and you're gonna take the ground plane shadow, which you can see Is that the default 60% And we're gonna dial that down to zero negative of the shadow. Now I'm gonna go and select the background layer. I'm gonna make it black. Now we can still see the text, but now it's in three D. So the next thing I want to do gonna re select the text, the main text element, and right over here in the Properties panel once again going to go into these tabs at the top. But this time we're gonna go to the 3rd 1 over which is the cap settings. And here you'll see that we've got settings for bevel. I'm gonna zoom in on the text a little bit so you can better see what's happening here. Were to go into the with and dial this 100% up. And there you can see we get a realistic, chiseled bevel on that. Now I know it's a little dark. It will be a lot more visit when we add the service. Problems will turn this off limits you can see. But now you can see there's an actual bubble and its protruding out from the face of the text. Justus you expect actual text to do, but we're hardly done. So now we need Teoh start adjusting service properties. Now, there's several ways to do this. Now, given that this is going to the only element in here, I'm gonna use what's called an I B l or an image based light. Teoh, give me that kind of chrome. Look about it. Now, before I do that, let's adjust the surface properties of the text itself. So I'm gonna go in here into that three d panel. This is where I selected that main three D Tex element. There's an arrow next to it. If I click on nap, you'll see that it reveals all the elements that make up the six. And what we're concentrating on here is these elements here you'll notice that there is front inflation material front, bevel extrusion, back bevel and back inflation. So it has breakdowns for each surface of the three D object. Now, I'm only gonna be concerned here with what I conceive E, which is the the bevel. We made that bevel at a full 100% which means we covered the entire front face inflation. We don't need to do anything to that part. I'm gonna select front bevel material. And then right here in the properties panel, I'm gonna dial up this shine and reflection and immediately. You know, Steve, some speculate highlights appear now. What you're seeing is the default ibl or image makes light of Just mentioned a moment ago. We're gonna change that right now. I'm just getting the surface properties dialed in, and then we're going. We're going to just that. So I'm gonna do the same thing to the extrusion. Aiken. See, those extruded ed is very slightly, but I'm not gonna put put as much shine a reflection on there. This is the beauty of this, of course, is that you can control the physics of the light and surface properties, unlike you would you would be able to do in real life. So here I'm gonna set the shine of reflection to a much lower setting. I don't want it to reflect nearly as much as I want the front to reflect. Dial that in about halfway. Another thing to take a look at is right up here. Top area of the properties panel. You'll see that we've got settings for a diffuse speculator illumination and and being the speculator is at the default kind of a dark gray color. And you kind of think of this speculator setting as a speculum highlight mask. What if this is a much lighter color? You're gonna see much brighter. Speculate highlights darker will diminish it. So in this case, for the moment, I'm actually going to dial this down to a darker black for the speculum highlight. And there we go. Now you'll notice we're still seeing a look Bright grey areas and it's washed out. Um, on the surface of that bevel essentially can. Now, as I said, what we're seeing is that default image based light. What a way to access that is. You go in that environment property and this is where we adjusted that ground plane shadow just a moment ago right down here. But right at the very top here, you'll see there is the IBL and the default setting for it right here. So what I bl is and then we just open this up. So I just go into the menu here and shoes and texture. Think of ibl as the way I describe it is Imagine your three D object, and there is a transparent sphere around it, and whatever image you apply as an image made a slight think of it being wrapped around that sphere, and it lets light through and by it's essentially projecting that that spirit will image onto your object, reflecting it. So it's basically an environment map, in a sense, so you can place your three D object in a scene, even in a photograph. Then you would take the photograph of the background applied as an I B. L. And it helps blend your object into the scene. That's what is designed to dio question. It's that map full each individual later. Or is it for the whole thing doing a global effect here? And that's why I was talking about earlier if I was doing this to individual elements and within this treaty layer that I would do what's an environ? What's called an environment map and that is applying it specifically to a part of the object here. We're doing a global change. Using an idea IBL is a global effect affects the everything on the three D layer. But this default one I'm not too thrilled with because it's just a great background and a bunch of white dots, and you can kind of think of it like a layer mask and a layer mask. Black hides the layer. White reveals it in grey has transparency. Think of the IBL that way, too. So with this gray background in white dots, that's what we're seeing on the object now. The cool part is, while you have environments selected, you'll notice there's a small sphere in the middle of the image that is visual aid. If I just click in the background and move around, I can now reposition the IBL. I'm essentially rotating that sphere that I mentioned a moment ago, and I'm changing the the position of the reflection on the object. But as I said, I don't want to use this particular image. I'm gonna go into that menu and choose new texture. I'm gonna make this 1000 by 1000 picks. It doesn't need to be a large file. Now I'm gonna go in. I've got a full are an image here rather, and this is just an abstract chrome texture, just a much aligned, some varying tones and such like that this is kind of my go to image for creating a kind of metallic effect like this so that I'm going to copied to the clipboard into a command and the command see, copied to the clipboard were back in our image. Here I go back into that properties panel we created The new IBL are did the 1000 my 1000 image pick pixels go back in to edit texture. So there it is not gonna pace that chrome image. And because it's an abstract texture doesn't need to be proportional. So I'm gonna and scale it to fit in the image here. And I don't want to have it at full intensity either. So here's an interesting little trick. I'm going to make the background. Black was gonna select it in press command control. I select the chrome layer and then drop it to 75%. I'm gonna close that for the moment. Save the changes and immediately you're going to see it's picking up that texture there. We're seeing the lines. Obviously, this is a bit extreme. We're gonna make some adjustments here, but that's looking pretty good so far. So now I'm gonna go back in that property family go back to the edit texture here. No, I don't want it to be chrome. I actually want to be gold. So I'm gonna dial up the pass a little bit. I think seven, if I was a little bit much, but I'm gonna put a new layer in here. And the cool thing about three D support layers are texture. Layers like this is that they support three our sport layers. You don't have to do a flat image to appliances surface property, so you can always go back in here and change him. So I'm gonna actually create a new layer and give it a kind of gold color fill change the blend modes overlay. And just so I can reduce those the lines that you see here, I'm gonna put a blur on the texture on the chrome texture to do a little bit of a motion blur here that's gonna take out some of the lines here. It's gonna maintain the tone total range. But the sharp lines are getting a little bit dull down. What? That I'm too close it save it changes. And now we have nice, shiny gold sex. If I turn my background on you can see now that's looking, But why stop there? Natural? No, realistically, this is actually finished. Now, am Do you want to show you one more? One more thing. But now it is in three D now, probably something I guess I would probably put straight on because it looks cool that way. But after seeing these effects in place, I am gonna dial that extrusion back a little bit because it seems like it's taken away. It was so you could see the the bigger against. It kind of distracts from the overall text areas. I'm gonna drop that down to, like, five There. There we go. But the cool thing is, it is in three D. So if I go in here and grab my camera, remember that current view? And if I go in the properties panel, you'll see here where they're gonna feel the view setting and millimeter lenses. You can actually change the virtual lens at what you're looking at this text. So if I wanted to get a much wider dramatic angle, so I drop this down to 10 it appears to drop the text back. But if I pull the camera closer and give it a rotation. Now, I've got a much more dramatic perspective of the sex here.