Photoshop CS6 is packed with new features and equipment that you can use in your work.
In this tutorial we will use Photoshop’s new 3D capabilities as well as its new content aware features to start a Micro Machines inspired composition. Let’s get ongoing!
Tutorial Assets The following assets were used during the production of this tutorial. Open the persona of the desktop. Since we are going to add a racetrack across the desktop, go ahead and sketch out the trail of the path on a temporary layer. This will identify problematic areas up adjoin.
Use the Content-Aware Go Tool (J) to fix the problematic areas so that our path will have sufficient space. With the Tool activated, magnet a selection nearly the eraser, then click and drag the selection to a new area on our screen. Allow Photoshop to calculate the change
Your results should appear similar to the following persona:
Use the Content-Aware Tool on the pencil as well.
We are now going to start the path. Select the Pen Tool (P) and set the Mode to Shape. This will allow us to use the Fill and Stroke options. For now, set the fill to No Affect and the Stroke to Black. Using the sketch as allusion only, loosely magnet a new trail early a top-down check over on a new layer named “Path.” Annotation: Do not magnet this trail in perspective of our scene, we will use the 3D mode before long to contest the perspective.
Set the Stroke Width to 130 pt. Also, open up the Stroke Options and set the Align to Crucial point. Bury the “Social class” Layer for now.
Our next step is to feel the “Path” layer. To start, we’ll need to open the depiction of the Asphalt.
Use any of the Marquee Tools to select the Bike symbol and go to Edit > Fill. Make sure to set the Use to Content-Aware. If de rigueur, use the Scrap Tool to clean up the persona.
We need to assess the persona’s perspective in order to properly sample the feel. Select the Perspective Crop Tool (C), which can be found by clicking and ground on the Crop Tool.
With the Perspective Crop Tool selected, click four points of a rectangle that matches the perspective of our asphalt. Use can manipulate the handles to get a better contest.
Press Enter or Restore to commit to the crop.
Now that we have a nice, clean feel, we need to make it seamless. Go to Filter > Other > Offset and adjust the sliders so that both seams are visible.
Using the Scrap Tool, remove the seams. It may be de rigueur to use the Scrap Tool multiple era
The results should resemble the persona not extra than:
Press Mandate/Ctrl + A to select the entire persona and go to Edit > Define Sample. Name this sample “Asphalt.” Finally, with the selection still committed, press Mandate/Ctrl + C to overload this persona to the clipboard. We will be defeat it in our scene in a before long step.
Go back to our original scene and double click the “Path” layer to access the Layer Styles. Apply the asphalt feel as a Sample House on top. Set the extent to 25%
Right-click the layer and select Rasterize Layer Style.
Start a new layer and press Mandate/Ctrl + V to Paste our persona that we copied in Step 12. Resize the feel so that it covers the path.
Rename the new layer to “Feel” and make into a Clipping Mask to the “Path” layer.
Using a better, soft Eraser (E), erase the inside of the path so that the better feel appears only on the edges of the path.
Set the Blending Mode to House on top
Select both layers that make up our path and right-click and select Convert to Smart Differ. Rename the Smart Differ to “Path.”
Now that we’ve made a top-down check over of our path, we can start to start a top-down check over of the construction cones. Start a new layer named “Cones.” Select the Pen Tool and change the settings as follows:
Set the Foreground Affect to a nice construction orange and magnet two paths that stay on each side of the path. The ensuing paths should resemble the following persona:
Right-click both shape layers and Rasterize Layer. Select both rasterized layers and Merge (Mandate/Ctrl + E). Rename to “Cones.”
We can now start to make our 3D stuff. To convert our “Path” Smart Differ into 3D, select the layer and go to 3D > New 3D Extrusion early Selected Layer. This will involuntarily start an extruded 3D differ, as well as open the 3D Panel.
In the 3D Panel, select the “Path” differ layer (denoted with an extruded star icon) to access its properties. In the Properties Panel, make sure the Mesh section is activated and set the Extrusion Depth to 0.
Next, go to the Coordinates section and set the X-Slant to 90 degrees.
Go back to the 3D Panel and click the glide-out menu for additional 3D options and select Snap Differ to Disturb a curfew Plane.
Go back to the Layers Panel and bury the social class persona. This will make it simpler for us to see the 3D stuff. Next, right-click the “Cones” layer and select New 3D Extrusion early Selected Layer. Annotation that the “Cones” differ is on a only one of its kind grid. We know this since here is only one differ (the “Cones” differ) in our scene. Photoshop has essentially made a separate 3D space for each differ. We will combine both stuff so that they are both in the same 3D space.
Go back to the Layers Panel and make sure the “Cones” layer is on top of the stack. Select both 3D layers and Merge (Mandate/Ctrl + E).
Since these are 3D layers, merging the layers just combines them into the same 3D space. We can check this by going back to the 3D Panel.
Using the same methods as we did the path, set the extrusion depth to zero, change the X-Slant coordinate to 90 degrees and snap to the disturb a curfew plane. The stuff may not line up properly, we will go them into their final positions before long.
Also, it is vital to annotation that since we have combined multiple 3D stuff in one scene, the stuff are contained within new groups (typically using the suffix “_layer”). Simply drill down to find the differ layer (denoted with the extruded star icon).
At this point, we are going to add a bevel to our “Cones” layer so they resemble construction cones. First, select the “Current Check over” camera and, using the navigational tools in the top menu, position the camera so it is close to the cones.
Select the “Cones” differ layer and go to the Cap section in the Properties Panel.
Use the onscreen widget to shape the cone.
Next, in the Properties Panel, select the Contour Map to edit and add a custom contour as shown.
The results should resemble the following:
Now we can work to go the camera into position. We will use the grid on the disturb a curfew plane to help us contest the perspective of our scene. Go back into the Layers Panel and unhide the social class persona.
Go back to the 3D Panel and bury the “Path” and “Cones” layers. We don’t need this now.
Select the “Current Check over” layer and, using the 3D tools in the top menu, Rotate, Drag, Slide, and Extent the grid so that it matches the perspective of the scene. It may require a lot of trial and error to get this right, even if it does not need to be perfect. It helps to find some right angles that already exist in the scene such as the buttons on the calculator.
Unhide the “Path” and “Cones” differ layers. Select the “Path” differ and click on the Mesh section in the Properties Panel.
Use the widgets to manually go/rotate the path into a desired position.
Do the same with the “Cones” differ.
We are nearly done with the 3D. The last part is to touch up the lighting. Currently, the shadows of our differ do not contest our scene. To fix this, click the Lights Filter in the 3D Panel and select the one light in our scene.
Ground budge, click and drag on the shadow in the scene to position it so that it matches the management of the shadows in the original persona.
Let’s go on to rendering. We want to render each piece separately so we will need bury stuff we aren’t rendering. In the 3D Panel, click the Filter by Mesh icon and bury the “Path” differ. Also, make sure to unclick Cast Shadows for the “Cones” differ.
In order to render out our stuff as transparent layers bury all our social class layers as shown not extra than:
Go to 3D > Render (Mandate/Ctrl + Alt + Budge + R). Let Photoshop render a few passes, then press Enter to bring to a standstill the rendering. Delight annotation that if you are in the Layers Panel, the scene must be selected in order to initiate a render.
In the Layers Panel (the 3D layer should already be highlighted), Select All (Mandate/Ctrl + A), Copy (Ctl + C) and Paste (Mandate/Ctrl + V) the rendering onto a new layer. Name this layer “Cones Rendered.” Bury this layer for now.
Repeat this process for the “Path” differ.
Now that the path and cones have been rendered out, we are going to make a few additional renders with the “Cones” differ. Unhide the “Cones” differ and bury the “Path” differ. With the “Cones” differ selected, go to the Mesh section of the Properties Panel and turn on Cast Shadows, turn on Hidden and turn off Catch Shadows.
Render this out and copy it to a new layer just be fond of we did in the earlier steps.
For the last render, turn off Hidden and Cast Shadows. Go to the Cap section and click Reset Warp. This will result in flat discs.
Again, Render (Mandate/Ctrl + Alt + Budge + R) out the scene and copy to a new layer.
Name the three rendered files appropriately and bury the 3D layer. If de rigueur, reorder the layers so it appears assess in the persona.
Select the “Path Rendered” layer and add the following layer styles to make it appear as if the path is really resting on the table.
Select the “Shadows Rendered” layer and give it a Gaussian Blur (Filter > Blur > Gaussian Blur) of 4 px. Set the Blending Mode to Multiply and the Opacity to 4%.
Select the “Base Render” layer and go it down so that it is barely visible under the cones. Adjust the Levels until the discs are pure black.
Give this a Gaussian Blur (Filter > Blur > Gaussian Blur) of 1.7 px and set the Blending Mode to Multiply
Make a copy of the “Base Rendered” layer and apply the Gaussian Blur filter again, but this time with a background of 5.5 px. Set the Blending Mode to Multiply and the Opacity to 55 %
Assemble all of our cone layers together and add a Layer Mask to the assemble.
Use the mask to bury any cones that overlap the pencil and blue eraser.
To organize our scene, go ahead and assemble all of our composite layers.
Our next step is to add a car to our scene. Open the car persona and see that it already has a nice shadow under it. We will try to use this shadow. Use the Pen Tool (with the Mode set to Trail) to magnet a trail nearly the car.
With the Pen Tool (P) still committed, right-click the trail and select Make Selection. Copy and Paste the car on to a new layer. The top layer will be the full affect car, while the bottom layer will be used for its shadows.
Assemble these two layers together. It may be de rigueur to double click the “Social class” Layer to unlock it.
Drag the “Car” assemble into our scene and resize to fit.
Inside the “Car” assemble, set the bottom layer to Multiply. Rename the layers as well. See that the perspective of the car does not contest our scene. We will have a crack to assess this in the next step.
Select the “Car” layer and Transform (Mandate/Ctrl + T) the the car subtly to better contest the perspective. Use the Warp Mode (activated by clicking the Warp Icon in the top menu bar) to honest-refrain the transformations.
See that this causes unwanted parts of the “Car Shadows” layer to show owing to. Use the Eraser Tool (E) to remove.
Use Levels (Mandate/Ctrl + L) to adjust the “Car” layer.
Additionally, you can paint in extra shadows as you see de rigueur
The next step is to have our components contest the depth-of-field in our original persona. Start by merging the “Composite Layers” assemble to a new layer.
Before we add a blur, use the Burn Tool to grow dim the corners of our new layer
Now, add the Iris Blur (Filter > Blur > Iris Blur). Set the quantity of Blur to 4 px and adjust the onscreen widget so the blurring matches the original persona as closely as doable.
Our persona is technically done, but we can go a small additional with it. Make a merged copy of all layers by pressing Mandate/Ctrl + Alt + Budge + E.
Use this new, merged layer to add additional corrections. In this case, I’ve added an additional blur using the Roll-Budge blur (Filter > Blur > Roll-Budge). This adds some extra depth while blending the components better.
I’ve also added a Photo Filter. This will help mix together the colors better.
Finally, I’ve added a softer advent to the scene. This is done by copying the layer, rising the Levels, and charitable it a moderately distinguished Gaussian Blur. Once this is done, set the Blending Mode to Soft Light, and adjust the Opacity to your preference.
The last step is to use the Crop Tool (C) to crop the persona down vaguely. This will bury any Layer Styles that are visible nearly the edges of our persona. Make sure to deselect Rub out Cropped Pixels.
Final Persona- You’re Done. The final persona should resemble the following.
