Photoshop User Magazine 2013-11

® ® THE ADOBE PHOTOSHOP “HOW-T0” MAGAZINE › › NOVEMBER 2013 How to find the right LIGHTROOM Lightroom Importing 101: Start UNDER organizational structure off on the right foot by using a that works for you TIPS & TRICKS consistent importing process THE HOOD ®® IN-DEPTH SCOTT KELBY’S NEWS, REVIEWS STEP-BY-STEP DOWN AND AND OTHER TUTORIALS DIRTY TRICKS COOL STUFF 3D TYPE EFFECTS MANIPULATE AND RENDER 3D TYPE IN PHOTOSHOP, WITH HIGH-END 3D APPLICATION RESULTS DISPLAY UNTIL DECEMBER 10, 2013 THE OFFICIAL PUBLICATION OF THE NATIONAL ASSOCIATION OF PHOTOSHOP PROFESSIONALS VISIT OUR WEBSITE AT WWW.PHOTOSHOPUSER.COM

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table of contents › › NOVEMBER 2013 FEATURE THE EVOLUTION 56 OF 3D TEXT IN PHOTOSHOP As the tool of choice for many designers, it seems 3D text would be a natural fit in Photoshop, and it is, but that hasn’t always been ILLUSTRATION: FELIX NELSON 3D text in Photoshop, from creating primitives in Photoshop CS4 the case. Join Corey Barker as he takes us through the history of to creating, modifying, and rendering full 3D text in CS6 and CC. Corey Barker DEPARTMENTS COLUMNS Riffs on a Business Card From the Editor 6 26 DESIGN MAKEOVER About Photoshop User Magazine 10 74 PHOTOGRAPHY SECRETS WWII Veterans from Canada, the U.S.A., and U.K. Contributing Writers 12 90 CREATIVE POINT OF VIEW Class Is in Session, Part 2 106 THE ADOBE CREATIVE CLOUD NAPP Member Community 14 Typekit for Web and Desktop 108 THE COPYRIGHT ZONE From the Help Desk 18 Excuses—A Refuge for Scoundrels 118 PHOTOSHOP TIPS NAPP Member Gallery 20 126 PHOTOSHOP Q&A HOW -TO DOWN & DIRTY TRICKS 32 72 FROM BERT’S STUDIO Planes Logo The Flash of the Neon Lights Simple Neon Line Art 48 98 DIGITAL PHOTOGRAPHER’S Floating Mountains of Pandora 52 NOTEBOOK Photoshop CS6 Workarounds BEGINNERS’ WORKSHOP 66 100 BEYOND PHOTOSHOP Applying Digital Makeup Creating Animations from Stills CLASSIC EFFECTS 68 102 ADOBE PHOTOSHOP CC Classic Christmas Card Adobe Generator Automates Web Graphics

› › www.photoshopuser.com LIGHTROOM REVIEWS FEATURED PHOTOGRAPHER 80 110 Bob Ring GoodSync 111 Photo Mechanic 5 UNDER THE HOOD 84 Extensis Suitcase Fusion 5 Importing 101 112 RocketStor 5212 Octa 30 Beauty Dish #6015 114 HDR Expose 3 and 32 Float v3 UNDER THE LOUPE 86 New and Improved Spot Removal 115 Limelite Mosaic LED Panels Universal Ringflash Adapter LIGHTROOM TIPS & TRICKS 88 116 Photoshop Book Reviews DYNAMIC FIXING TRICKY RANGE JAMIE SUPLEE 94 LIGHTING Even photos with great composition and great lighting can use a little help in Photoshop to make the subject stand out a bit more, reduce the effect of distracting elements, and make the colors pop. Connor Walberg uses a photo of a highliner athlete to show us how it’s done. Connor Walberg JACOB MCCARTHY MAX DESDUNES BUT WAIT— THERE’S MORE KEY CONCEPTS DOWNLOADABLE CONTENT These icons at the beginning of columns indicate there’s a short video on a tool Whenever you see this symbol at the end of an article, it or function used in that tutorial at the Key Concepts NAPP member webpage at means there are either downloadable practice files or additional www.photoshopuser.com/keyconcepts. content for NAPP members at http://members.photoshopuser .com/magazine. Dodge & Burn tools Lasso tool Layer masks Pen tool Smart objects Quick Selection tool

a few words from › › scott kelby FROM THE EDITOR A DIFFERENT DYNAMIC This snuck past a lot of folks, but in the past month Adobe has released pretty signifcant updates to Photoshop and Lightroom, both of which include new features, along with a few bug fxes and camera support updates. So why are these updates released so quietly these days? It’s because we’re no longer on that 18–24-month cycle between getting any new features in the next full version of Photoshop. I think people have already started to forget that’s how long we used to have to wait for any new Photoshop features. Today, with the Creative Cloud (CC) version of Photoshop, Adobe can release new features as soon as they’re ready, and that’s what they’ve been doing with a string of new features already released to CC subscribers since the last full version shipped (Photoshop CS6). Since these aren’t major full releases like we had in the old days, it doesn’t create the big media blitz. Something that happens every two years is big news. Something that happens every four months or so is treated like business as usual, even if the features are really useful. Of course, NAPP members hear about these releases right away on the NAPP member website, or on my blog, or on Photoshop User TV because we create tutorials and training on all the new stuff as soon as it’s released, but the big buzz generated by a new version of Photoshop isn’t there like it used to be. Now, we just get a better ver- sion of Photoshop, with new features released dramatically faster, but without all the fanfare. Creative Cloud users know about the new goodies, but the rest of the Photoshop universe, using older versions of Photoshop, might not even realize that new features keep arriving. It’s defnitely a different dynamic, that’s for sure. I actually miss the big Photoshop product launches, but I defnitely don’t miss the long wait between feature releases. Here in the mag, we got our own Photoshop boy wonder Corey Barker to do a really cool feature story on how incredibly easy it has become to create 3D type. The ability to create 3D type has been in Photoshop for a while now, but it’s always been daunting enough that it kept anybody but a real 3D artist from using it, but Corey shows you how that’s all changed and now anybody is just a few clicks away from having access to these amazing-looking effects. It starts on page 56. Also in this issue, Connor Walberg shows how to focus attention on the subject using a combination of Lab color, curves, and dodging and burning in “Dynamic Range” (p. 94). In “Photoshop CC,” Janine Warner shows us how to use the new Generator feature, which makes it much easier to export Web assets out of Photoshop (p. 102). Lesa Snider shows us how easy it is to digitally apply and enhance makeup (p. 66), and in our popular “Classic Effects” column on p. 68, our own Pete Collins gets into the holiday spirit and shows how to cre- ate wonderful cards that will work for any occasion (and make you look like a Photoshop shark). Katrin Eismann continues to share some really great advice for teaching Photoshop in a classroom environment (p. 90), plus we included a nice photographic feature by Iden Ford who traveled the U.S., Canada, and the U.K. to capture images of WWII veterans, and we’re running it in honor of Veterans Day (observed in the U.S. on November 11, 2013). It begins on page 74. Of course, our Lightroom section of the mag is packed full once again, plus all your favorite columns, news, and reviews are here, as well. Hope you’re having fun out there and enjoying some of the cool new tools Adobe has released in the past few months. › › photoshop user › november 2013 Scott Kelby All my best, NAPP President & CEO Editor & Publisher, Photoshop User 006

AWARD OF EXCELLENCE

NOVEMBER 2013 • Volume 16 • Number 9 • Printed in USA The ofcial publication of The National Association of Photoshop Professionals EDITORIAL: Scott Kelby, Editor-in-Chief Chris Main, Managing Editor Mike Mackenzie, Senior Editor Contributing Writers Kevin Ames • Corey Barker • Peter Bauer • Larry Becker • Pete Collins “RC” Concepcion • Michael Corsentino • David Creamer • Seán Duggan • Katrin Eismann • Iden Ford • Jef Gamet • Ed Greenberg Matt Kloskowski • Bert Monroy • Jay Nelson • Scott Onstott • Jack Reznicki • Bob Ring • Colin Smith • Lesa Snider • Rob Sylvan • Erik Vlietinck • Connor Walberg • Janine Warner • Jake Widman GRAPHICS: Felix Nelson, Creative Director Dave Damstra, Production Manager Tafy Cliford, Senior Associate Designer Dave Korman, Senior Premedia Specialist Marketing Team Eduardo Lowe • Leslie Montenegro • Margie Rosenstein Web Team Karey Johnson, Director of Web Development Melissa Cozart • Christopher Reed • Aaron Westgate PUBLISHING: Scott Kelby, Publisher David Moser, Executive Publisher Kalebra Kelby, Executive V.P. Jean A. Kendra, Business Manager Larry Becker, Executive Director of the NAPP ADVERTISING: Kevin Agren, V.P., Sales 813-433-2370 Jeanne Jilleba, Advertising Coordinator 800-738-8513 ext. 215 Veronica (Ronni) O’Neil, Director of Circulation/Distribution 800-738-8513 ext. 235 HOW TO CONTACT THE NAPP: U.S. Mail: 333 Douglas Road East • Oldsmar, FL 34677-2922 Voice: 813-433-5005 • Fax: 813-433-5015 Customer Service: [email protected] Letters to the Editor: [email protected] Letters to the Lightroom Editor: [email protected] Membership Info: [email protected] Membership Suggestions: [email protected] World Wide Web Including the Photoshop Help Desk, Photo Gear Desk, and Advice Desk: http://members.photoshopuser.com COLOPHON: Photoshop User was produced using Adobe Photoshop CC and Adobe InDesign CC. Blair ITC was used for headlines, Adobe Myriad Pro for subheads, and Frutiger LT Std for text. This seal indicates that all content provided herein is produced by Kelby Media, Inc. and follows the most stringent standards for educational resources. Kelby Media is the premier source for instructional books, DVDs, online classes, and live seminars for creative professionals. All contents ©COPYRIGHT 2013 National Association of Photoshop Professionals. All rights reserved. Any use of the contents of this publication without the written permis- sion of the publisher is strictly prohibited. Photoshop User is an independent journal, not affiliated in any way with Adobe Systems, Inc. Adobe, the Adobe logo, Acrobat, Illustrator, InDesign, Lightroom, and Photoshop are registered trademarks or trademarks of Adobe Systems, Inc. in the United States and/or other countries. All other trademarks mentioned belong to their respective owners. Some of the views expressed by contributors may not be the representative views of the publisher. ISSN 1535-4687

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about photoshop user › › ABOUT PHOTOSHOP USER MAGAZINE Photoshop User magazine is the official publication of the National Association of Photoshop Professionals (NAPP). It is for members, by members, and is not available to the public by subscription. As a NAPP member, you automatically receive Photoshop User delivered right to your door (or digitally) ten times a year. Each issue features in-depth Photoshop tutorials written by the most talented designers, photographers, and leading authors in the industry. is a dynamic trade association and the world’s leading resource for ABOUT NAPP THE NATIONAL ASSOCIATION OF MEMBER DISCOUNTS PHOTOSHOP PROFESSIONALS Save anywhere from 2–4 times your membership cost by using our many ® ® Adobe Photoshop training, news, and education. Founded in 1998, industry-related discounts. NAPP has become the largest graphics and digital imaging association in the world with more than 70,000 members worldwide. NAPP is open to TECH SUPPORT any individual using Photoshop in a casual or professional environment. Fast, friendly Photoshop, Lightroom, and photo gear help, equipment advice, and more from certified experts. There’s no faster, easier, and more affordable way to get really good at Photoshop. $ $ $ You can join for only 99 U.S., 129 Canada, and 99 International (digital delivery). MEMBER COMMUNITY NAPP also offers special educational memberships. NAPP members range from beginners to pros and love to lend each other a Go to www.photoshopuser.com to get more info. hand. Together, we have built the friendliest, most knowledgeable Photoshop and photography forum on the Web. NEWS & REVIEWS MEMBER Unbiased coverage on the latest equipment, plug-ins, and programs BENEFITS in the marketplace. MONTHLY E-NEWSLETTER › › photoshop user › november 2013 Thousands of Photoshop tutorials, bonus classes, and quick tip videos. REGISTRATION DISCOUNT Produced exclusively for members to keep you informed of everything new PHOTOSHOP USER MAGAZINE in the industry and at NAPP headquarters. Ten issues of the best Photoshop tutorial-based magazine in the industry. MEMBERS-ONLY WEBSITE TO PHOTOSHOP WORLD Our extensive website features time- and money-saving content. CONFERENCE & EXPO TUTORIALS & EDUCATION The semiannual NAPP convention and the largest Photoshop and photog- raphy learning experience on the planet. It’s an amazing Photoshop event. 010 FIND NAPP MEMBERSHIP DETAILS AT www.photoshopuser.com or call 800-738-8513 Monday–Friday, 8:30 a.m. to 7:00 p.m. EST.

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photoshop’s most wanted › › contributing writers KEVIN AMES creates evocative photographs for clients such as Westin Hotels, AT&T, and Coca-Cola. His fourth book, published by Peach pit Press, is The Dig ital Photog- MATT KLOSKOWSKI rapher’s Notebook: A Pro’s Guide to Photo shop CS3, Light room and Bridge. is a full-time education director for Kelby Media Group and a Tampa-based STEVE BACZEWSKI photographer. He’s the editor of Lightroom Magazine, a best-selling author, and teaches Photoshop and Lightroom seminars around the world. is a freelance writer, professional photographer, graphic designer, and consul- tant. He also teaches classes in traditional and digital fine arts photography. BERT MONROY His company, Sore Tooth Productions, is based in Albany, California. is considered one of the pioneers of digital art. His work has been seen in countless PETER BAUER magazines and books. He has served on the faculty of many well-known institutions, written dozens of books, and appeared on hundreds of TV shows around the world. is an Adobe Certified Expert that does computer graphics consulting for a select group of corporate clients. His latest book is Photoshop CS6 for Dummies. JAY NELSON He was inducted into the Photoshop Hall of Fame in 2010. is the editor of Design Tools Monthly, covering graphic design topics since 1992. BRUCE BICKNELL He knows a lot about digital publishing, fonts, and font management. Learn more is the founder of Digital Blue Productions. He has been an instructor on Adobe’s at www.DesignToolsMonthly.com. in-box training, and is an instructor at Sessions.edu. His clients include Time Inc., SCOTT ONSTOTT NFSTC, DTCC, and magazines that include People and National Geographic. is the author of Photoshop CS6 Essentials, Enhancing Architectural Drawings and Models with Photoshop, and many other books and videos. You can see PETE COLLINS is an education and curriculum developer and website overseer for NAPP. He is what he’s up to at ScottOnstott.com. one of the Photoshop Guys and co-hosts Photoshop User TV. With a fine arts COLIN SMITH background, Pete is well versed in photography, graphic design, and illustration. is an award-winning digital artist, photographer, and lecturer who has authored MICHAEL CORSENTINO 18 books and has created a series of training videos. Colin is also the founder of the online resource PhotoshopCAFE.com and president of Software-Cinema.com. is an award-winning wedding and portrait photographer, Photoshop and Lightroom expert, author, columnist for Shutter Magazine and Resource Magazine, and speaker LESA SNIDER and international workshop leader. Learn more at www.michaelcorsentino.com. is the author of Photoshop CC: The Missing Manual and several training videos (lesa SEÁN DUGGAN .in/clvideos), and co-author of iPhoto ’11: The Missing Manual. She’s on the Photo- shop World Dream Team, a columnist for Macworld, and founder of PhotoLesa.com. is the co-author of Photoshop Masking & Compositing, Real World Digital Photography, and The Creative Digital Darkroom. He leads workshops on ROB SYLVAN digital photography, Photoshop, and Lightroom (SeanDuggan.com). is the author of Taking Stock and Photoshop Lightroom 2 for Dummies, a DANIEL EAST Help Desk Specialist for the NAPP, and an instructor for the Perfect Picture is an author, free lance writer, presenter/trainer, and consultant with more than School of Photography. 20 years’ experience in photography, pro-audio, and marketing. Daniel is also founder and president of The Apple Groups Team support network for user groups. ERIK VLIETINCK founded IT Enquirer in 1999 (http://it-enquirer.com). A J.D. by education, Erik KATRIN EISMANN has been a freelance technology editor for more than 20 years. He has written is the author of Photoshop Restoration & Retouching and co-author of Photoshop for Macworld, Computer Arts, Windows NT Magazine, and many others. Masking & Compositing and The Creative Digital Darkroom. Katrin is Chair of › › photoshop user › november 2013 their book, Photographer’s Survival Manual, published by Lark Books. of computers and graphic design for about 25 years now—since back when it was JAKE WIDMAN the MPS in Digital Photography department at the School of Visual Arts in NYC. is a writer and editor who lives in San Francisco. He’s been covering the intersection ED GREENBERG called “desktop publishing” and Photoshop was just a piece of scanning software. & JACK REZNICKI have a blog at www.thecopyrightzone.com where you can read about 012

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INDUSTRY NAPP NEWS TRAINING MEMBER AND INFORMATION COMMUNITY › › BY LARRY BECKER Where you’ll find notable achievements, musings, and inspirational work from fellow members ADOBE CLOUDS COME IN DIFFERENT SHAPES At Photoshop World Las Vegas, Adobe announced the avail- ability of their Photoshop Photography Program. This Creative Cloud membership for photographers includes the latest ver- sions of Photoshop CC and Lightroom; 20 GB of online storage; a Behance ProSite account; access to training resources; and ongoing upgrades and updates. The program is available for $9.99 per month for owners of Photoshop CS3 and higher who sign up by December 31, 2013. Adobe is pleased to respond to customers and offer its loyal photography community these two says that this isn’t an introductory price; it’s the ongoing price. powerful applications via this program. For complete details, the BRAD MOORE folks at Adobe have a blog post that includes a link to a related FAQ at http://blogs.adobe.com/photoshopdotcom/?p=6976. Now there’s an even more affordable way to get only Photo- shop and Lightroom if that’s what you want and the rest of the Creative Cloud collection is more than you need. We like how Adobe SUITE NEW PLUG-INS onOne Software’s Perfect Photo Suite is one of those rare Photo- shop and Lightroom plug-ins that all the Photoshop Guys love, and onOne recently announced version 8 of the Suite. Perfect Photo Suite 8 is a full-featured, standalone photo editor that integrates seamlessly with Adobe Photoshop, Lightroom, Photoshop Elements, and Apple Aperture, and it includes all the tools a photographer needs to create extraordinary images. Key new features include the Perfect Enhance module for essential photo adjustments; the Perfect Eraser with content-aware f ll technology; the Perfect Batch processing utility for applying work- f ows to multiple images at once; and a reengineered Perfect Effects module with twice as many f lters, customizable presets, and integrated FocalPoint technology. The new tools and capabilities in Perfect Photo Suite 8’s eight modules—Effects, Enhance, B&W, Portrait, Mask, Layers, Resize, and Browse—allow photographers to enhance, retouch, and stylize images in a layered workf ow; replace backgrounds; create high-quality enlargements; prepare images for output; and batch process workf ows. The modules share a unif ed interface, each › › photoshop user › november 2013 .com/store. Perfect Photo Suite 8 is available in three editions: Premium, Standard, and an edition for Adobe Lightroom and targeting a specif c image-processing task. Each module provides only the tools necessary to complete the job at hand, eliminat- ing screen clutter and confusion for the user. Perfect Photo Suite 8 will be available November 26, 2013. Preorders are available immediately at www.ononesoftware Apple Aperture. The Premium Edition works with Adobe Photoshop, Lightroom, Aperture, Photoshop Elements, and as a standalone applica- tion. Owners of previous versions of Perfect Photo Suite Premium Edition can upgrade for $99.95. New users may preorder the Premium Edition for $179.95. For a limited time, preorders of Perfect Photo Suite 8 Premium Edition will include a complimentary Essential Video Guide to Perfect Photo Suite 8, which provides a comprehensive collection of training videos for Perfect Photo Suite 8 ($40 value). Perfect Photo Suite 8 for Adobe Lightroom and Apple Aperture works with Lightroom, Aperture, Photoshop Elements, and as a standalone application. It’s available for $129.95 for new users, or upgrade for $79.95. The Standard Edition works as a complete 014 standalone photo editor and is available for $79.95.

NAPP MEMBERS MORE COMMUNITY BREAKING OUT INTERACTION › › Here are more ways to interact with Recently, Brad Moore and I were talking about the impressive work our NAPP mem- us and other NAPP members bers post in their free member portfolios, and I mentioned a couple of folks I think are so talented they could easily make their own mark on the world of photogra- MEMBERS ONLY phy. They just need a few high-prof le commercial jobs and some more exposure. NAPP members, show off your talent by uploading your Their work really speaks for itself, so the next step is to be seen. Well, I’ll do my artwork to the Portfolios section. You could be the next small part here and brag about two photographers the world should know about: Editors’ Choice: Image of the Week winner (see page 22 Christine Moody and Steve Augulis. for recent Image of the Week winners). Visit http://mem- bers.photoshopuser.com/portfolio for inspiration. Based on her member portfolio uploads (http://kel.by/1corozF), Christine started with a particular type of innocent portrait, mostly featuring children, which was We also have the best community around. Visit the Forums section and become part of the conversation. riveting because of the beautiful detail and pale colors of her postprocessing. Her Have a look at http://forum.photoshopuser.com. ability to capture eyes was incredible and her ability to connect with children and their innocence really came through because she captured children when they weren’t smiling. These kids weren’t sad or depressing looking in any way, just real. SOCIALLY SPEAKING Since then, she seems to be experimenting with more techniques, situations, and Friend us on Facebook, follow us on Twitter and + Google , and check out informative blogs by different subjects. Those portraits are truly a great foundation on which she could industry leaders. build a much bigger following. Speaking of people who are poised to break through, check out the portfolio Steve Augulis has going (http://kel.by/1agu9ya). There are two distinct things about Steve’s work. First, he has some really cool, dark (mood) portraits. Some of the NAPP portraits are crazy expressions in self-portraits. Tons of personality comes through www.facebook.com/PhotoshopUser in these images. The mood (dark or otherwise) comes from lighting and postprocess- @NAPP_news ing in equal measure. The other thing he has nailed, from a totally different genre, kel.by/onGplus Scott Kelby is sunrise and sunset scenes in his hometown. It doesn’t hurt that he lives near the www.scottkelby.com ocean in Florida, but this guy really understands light. @scottkelby Now you know two NAPP members who should break out. Here’s one who www.facebook.com/SKelby did: Mark S. Johnson. Mark has been one of our Photoshop tutorial writers on the Matt Kloskowski NAPP site for years, and his work incorporates a gorgeous combination of great www.lightroomkillertips.com photography, fantasy composites, bright colors, and a mastery of Photoshop. While @mattkloskowski we’re happy for you to swing by Mark’s NAPP tutorials, he did a special tutorial www.facebook.com/ThePhotoshopGuy for creative folks about being creative. It features some of those brilliant fantasy kel.by/MattGplus composites and a week’s worth of inspiration. It’s on Scott Kelby’s blog (www Corey Barker .scottkelby.com) as the guest blog post for Wednesday, October 2, 2013. You have www.planetphotoshop.com @planetphotoshop to head over there and see his work. Go get inspired! www.facebook.com/PlanetCorey kel.by/CoreyGplus Rafael “RC” Concepcion @aboutrc www.facebook.com/webrc kel.by/rcgplus Pete Collins @PeteCphoto www.facebook.com/PhotoshopPete Jessica Maldonado www.facebook.com/PhotoshopJessica The Grid Live kel.by/TVtheGRID @TheGridLive Podcasts and More › › www. photoshopuser .com YouTube: YouTube.com/KelbyMediaGroup Photoshop User TV: KelbyTV.com/photoshopusertv Kelby TV: KelbyTV.com Off cial NAPP Gear Store: kel.by/NAPPgear 015

THERE’S NIKON D610 FX-FORMAT ALWAYS ROOM CAMERA AVAILABLE FOR A LITTLE LIGHTROOM NEWS Speaking of cool Adobe announcements and releases, let’s talk about Adobe Light- room 5.2. This version of the application adds support for 20 cameras, among them the Canon EOS 70D, Fujiflm X-M1, and Sony DSC-RX100 II. Enhancements include a Feather control to the Spot Removal tool, and a Smoothness adjustment control to the Color Noise Reduction portion of the Detail panel. By the way, Adobe Camera Raw is now sporting a new version number, too: 8.2. Recently, Nikon announced the Nikon D610 FX-format HDSLR, featuring a full-frame 24.3-megapixel CMOS sensor and EXPEED 3 image processing A WORLD’S FIRST engine for superb performance and clarity in all lighting conditions. IN RUGGED CAMERAS With an ISO range from 100–6,400 (extendable to 25,600 in Hi-2 Does any of your photography involve wear- mode), the D610 produces photos with minimal noise. The 39-point ing a helmet or snorkeling gear? Pay atten- autofocus system inspires conf dence and control, allowing users to select tion because Nikon (www.nikonusa.com) single point, continuous, dynamic, or 3D autofocus modes for any shooting recently announced the world’s frst water- environment. Nikon’s 3D Color Matrix Metering II 2016-pixel RGB sensor, proof (up to 49' without a housing), shock- in conjunction with the Scene Recognition System, analyzes the scene and proof, freezeproof, interchangeable lens adjusts exposure, white balance, and focus. camera, the Nikon 1 AW1. The durable and The D610 can shoot up to 6 frames per second (fps) and features a new versatile AW1 thrives in harsh environments quiet continuous shutter mode, ideal for wedding or wildlife photogra- while delivering the high-performance fea- tures and incredible image quality that enable phy, that can shoot discretely at up to 3 fps. Other features include a 3.2\", adventurous photographers to capture every 921,000-dot LCD; new creativity modes; dual SD card slots; and full 1080p moment and memory. HD video capture in cinematic 24p and 30p rates. To complement the AW1, Nikon also The Nikon D610 is available for $1,999.95 for the body only, or in a variety introduced two new waterproof, shockproof, of kits that range from $2,599.95–3,2249.95. For more information, visit and freezeproof lenses: the 1 NIKKOR AW www.nikonusa.com. 11–27.5mm f/3.5–5.6 and 1 NIKKOR AW 10mm f/2.8. The robust 11–27.5mm lens DSLR DYNAMICS VIDEO offers a versatile lens option with a 2.5x zoom VISUALS TRAINING TOUR range. Additionally, the wide-angle 10mm When it comes to Photoshop or photography, the folks in this off ce have quick lens offers a fast f/2.8 aperture to help deliver access to the best training in the world. We have everything on the NAPP site, all a shallow depth of feld and excellent low- the cool Kelby Training resources, and stacks of books from each of the Photo- light performance. shop Guys at our f ngertips. When they’re near the home off ce in Florida, we The Nikon 1 AW1 will be available as a one- even go out for training days to catch one of the guys on tour. lens kit with the 1 NIKKOR AW 11–27.5mm But lately our video department was really excited to f nd out that there’s a f/3.5–5.6 lens for $799.95, and a two-lens kit great DSLR video training tour coming to town. It’s the DSLR Dynamics Video › › photoshop user › november 2013 tips and tricks and insider videographer knowledge to help shooters capture pro- for $999.95. Nikon 1 AW1 kits will come in Visuals Tour from the folks behind planet5D (http://blog.planet5d.com), and black, silver, and white. they’re doing something like 30 cities across the U.S. They’re going in depth with quality video for commercials, live broadcasts, weddings, and TV. If you’ve seen any classes, webinars, or podcasts from NAPP or Kelby Train- ing, you already know our video crew has mad skills. But they know that staying sharp comes from attending training, so we create training for our customers and we attend training to get better. And since the DSLR Dynamics Video Visuals Tour happens to be in our town on a Sunday and we’re still excited to go, you know this has to be a good one. Feel free to join us in Tampa or a city near you and be sure to take advantage of the awesome NAPP member discount posted on the NAPP site. For more information, visit http://kel.by/1bQl2Gw. ■ 016



NAPP COMMUNITY › › FROM THE HELP DESK PETER BAUER › › Answers to Photoshop, Lightroom, and gear-related questions There are a few things that drive me nuts these days. I can’t fnd the Stamp Visible command in any menu; the Camera Raw Preview checkbox only hides adjustments in the currently active panel, not any other adjustments made in other panels; and my custom sort order in Bridge isn’t recognized by any other program or dialogs. Any workarounds?—vinny To: Vinny you could click the Snapshots tab on the right, click the New From: NAPP Help Desk Snapshot icon at the bottom of the panel, save the snapshot, Stamp Visible: The Stamp Visible command creates a new empty assign the Camera Raw defaults, then switch back to the snap- layer above the active layer in the Layers panel and merges a copy shot to compare the current adjustment to the unadjusted image of all visible layers into that new layer. All of the original layers using the Preview checkbox, but I like a simpler approach. Hold remain, just as they were, but Stamp Visible provides a compos- down the Option (PC: Alt) key and the Cancel button changes ite of all previous work in one layer. (I generally create a smart to Reset. Click Reset to see the image as it appeared before you Wacom Cintiq or an Intuos tablet, that keyboard may be several started making changes. Use Command-Z (PC: Ctrl-Z) to undo object rather than using Stamp Visible, but you’ll fnd it used in the Reset and return all panels to exactly where they were prior to many tutorials.) Everyone who uses Stamp Visible knows that it Reset. Repeat as often as desired to see your current adjustments doesn’t appear in any Photoshop menu, but it is available as a compared to the original, unadjusted image. keyboard shortcut using Command-Option-Shift-E (PC: Ctrl-Alt- Maintain custom sort order from Bridge: If you’re sure you Shift-E). But if I’m kicked back in my studio chair working on my them, be it through the View>Sort menu in Bridge or a custom feet away. (And access to it may involve removing my own feet have the images in exactly the order in which you want to keep from the desktop—don’t tell my chiropractor!) sort order, and that’s the way you want that folder’s content to I did write that the command doesn’t appear in any Photo- appear in dialogs and other programs, use the Batch Rename shop menu, but that doesn’t mean the command isn’t there—it command. Sort or drag the images into the order in which you is, but it’s hidden. To invoke Stamp Visible through a menu, hold want them to appear, select all of the images, then choose down the Option (PC: Alt) key and choose Layer>Merge Visible. Tools>Batch Rename to rename the images. To what should you The name of the command doesn’t change to Stamp Visible in rename them? That’s up to you. The simplest way is to go to the the menu when you press the modifer key, but the command’s New Filenames section of the dialog, select Sequence Number behavior changes to the Stamp Visible command. from the frst drop-down menu, click the plus icon to the right of Global Preview undo in Camera Raw: In Camera Raw, uncheck- that menu, and set the menu that appears below that to Current ing the Preview box to the upper right of the image area hides Filename. This will add a number before the current flename. the changes being made in the current panel, but doesn’t hide But if all of the images in the folder are from the same job or of any changes in other panels. If you want to compare your cur- the same subject, you might want to make the second feld in rent state of adjustment to the image before you started making the Batch Rename dialog a Text feld and enter some identifying changes, unchecking Preview doesn’t do you much good. Yes, information, keeping the Sequence Number as the frst feld. › › photoshop user › november 2013 THE NAPP MEMBER HELP DESKS Are you taking advantage of the Help Desks at the NAPP member website? This is the place where you can get all of your Photoshop and Lightroom questions answered either by other NAPP members or by our Help Desk experts. Not only that, you can get photo and computer gear help and advice, as well. What are you waiting for? Visit the Help section on the NAPP member site today! ■ 018

Small flash. Big results. “Lastolite accessories are essential for my shoots. The Ezybox is my go to speedlight softbox, it produces fantastic soft light for portraits, and packs up tight for easy transport. Trigrips are always in my pack. Having a grip handle makes these reflectors very easy to use.” Image on left taken with Ezybox Hotshoe shown above, designed to work with most flash guns. Tom and Lastolite Professional Don’t let your flashgun control your photography. Our comprehensive range of speedlight accessories let you control the light so you can explore the full potential of your small flash. Whether you want to bounce, diffuse, reshape the light or you simply want to be more creative, Lastolite has the solution. For more information: [email protected] www.lastolite.us.

napp member gallery › › WHERE NAPP MEMBERS EXHIBIT MEMBER THEIR WORK GALLERY JACOB McCARTHY Jacob McCarthy is a creative professional, retired Air Force photog- rapher and co-founder of Parascope Creative in Las Vegas, Nevada. He specializes in photography, 3D modeling and animation, graphic design, and video production. In addition to his commercial work, Jacob spends time working with local nonprofits and educational institutions teaching and sharing his creative passions. www.parascopecreative.com [email protected] RUSSELL HOPPER Russell Hopper is an amateur photographer residing in Northern California. His passion for photography and retouching was inspired by his love of travel. He enjoys capturing portraits but his passion is clearly landscape art. Russell practices composite photography and hopes to one day teach his retouching and photo skills in the styles of Glyn Dewis and Joel Grimes. www.russhopper.com [email protected] STEVE ELLIS Steve Ellis is a freelance photographer and Internet marketing › › photoshop user › november 2013 well as selected for a variety of residential and commercial professional based in Stratford, Connecticut. His photography includes landscapes and travel, as well as macro and detail studies. Steve’s work has been published and exhibited, as design applications. www.steveellisphoto.com [email protected] If you’d like to have your work considered for publication in the “NAPP Member Gallery,” submit samples of your artwork to [email protected]. 020

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IMAGES OF THE WEEK › › 07.22.13 › › M AX DE SDUNE S st ev e el l is 08.05.13 › › J A MIE SUPL EE russel l hopper › › photoshop user › november 2013 0 8 .1 2 .13 › › S COT T CL EMEN TS 022 09.16 .13 › › F R A NK J. BENZ st ev e el l is

2013-2014 EISA Winners! SP 70-200mm F/2.8 Di VC USD “Overall, the Tamron SP 70-200mm F2.8 Di VC USD can compete with the best 70-200mm 2.8 lenses from all other optical brands…”* SP 90mm F/2.8 Di VC USD “Extremely sharp even when used at its maximum aperture, the Tamron SP 90mm F/2.8 Di Macro 1:1 VC USD is one of the best macro lenses on the market…”* For the 8th consecutive year, Tamron receives prestigious EISA Awards Each year, the European Imaging and Sound Association (EISA), a panel of editors from over 50 leading imaging, sound, and electronic industry magazines in 20 European countries review and vote to determine the best products in photographic, audiovisual, and video product categories. And this year Tamron wins two prestigious awards for our latest SP lenses! This honor marks the 15th time Tamron has won an EISA Award, the 8th consecutive award since 2006. *See our website for the full EISA Jury Award Citation. www.tamron-usa.com

live training › › THE WORLD’S MOST POPULAR PHOTOGRAPHY & DESIGN SEMINARS SEMINARS We have set the industry standard for stage with every frame shown immediately from image capture to final print—you’ll world-class training for photographers, on screen. He’ll mix in short video clips of see it unfold right in front of you, as you designers and other creatives for more lighting lessons in the field, all designed learn step-by-step how to take control of PRO SEMINAR TOUR COMING TO: than 15 years—educating over 40,000 your digital photography workflow. to show you how to get great results every attendees annually. Our in-depth, one- time, with a minimum of gear. day seminars are perfect for both begin- FT. LAUDERDALE, FL - NOVEMBER 6 COMING TO: ners and experienced professionals! SACRAMENTO, CA - NOVEMBER 15 LOS ANGELES , CA- NOVEMBER 13 SEATTLE, WA - DECEMBER 6 SAN FRANCISCO, CA - NOVEMBER 18 JACKSONVILLE, FL - DECEMBER 13 THE SHOOT LIKE A ADOBE PHOTOSHOP Instructed by Scott Kelby FOR PHOTOGRAPHERS ADOBE PHOTOSHOP Imagine how much you can learn, and CREATIVITY TOUR how much farther along you’ll be after Instructed by Rafael “RC” Concepcion Instructed by Ben Willmore spending a full-day immersed in just the This new tour was developed by the Ben Willmore, renowned photographer, most important, the most impactful, and world’s #1 best-selling Photoshop and and legendary Photoshop expert is back the most fun photography techniques. photography author, Scott Kelby, and in 2013 with a brand new tour packed The entire workshop is designed to have is taught by Photoshop guru, RC Con- with only the hottest tips and tricks, and you leaving from that day with a new set of cepcion. Although we cover everything most sought-after Photoshop techniques skills, a clear set of goals, and just what from getting your color right to the pros’ for photographers. Ben’s created one of you need to start taking the type of photos secrets for sharpening images, this his best tours ever, developed from his you’ve always dreamed you could. one-day seminar covers so much more 25 years of pushing Photoshop to the including everything from today’s hottest COMING TO: Photoshop special effects for photogra- creative limit. You’ll be amazed at what NEW YORK, NY - NOVEMBER 14 you can learn in just one day. SAN DIEGO, CA - DECEMBER 3 phers to how to work faster, smarter, and TORONTO, ON - DECEMBER 9 more efficiently in Photoshop. COMING SOON TO A CITY NEAR YOU! COMING TO: $ › › photoshop user › november 2013 Instructed by Joe Mcnally ADOBE PHOTOSHOP Register Early & Save $10. See site for details. PHOENIZ, AZ - NOVEMBER 1 THE JOE MCNALLY CALGARY, AB - DECEMBER 11 ONE FLASH, TWO ONLY 79 FLASH SEMINAR 99 for NON-NAPP Members $ This tour is all about creating great lighting LIGHTOOM 5 LIVE with just one, or two, flashes. All day, Instructed by Matt Kloskowski lighting problems, solutions, tactics Get ready for the best Photoshop and strategies will be demonstrated, live Lightroom training on the planet! You’ll using simple gear and small flashes. It’s be taught by Matt Kloskowski, one of the about producing stunning results that will thrill clients without tugging an eighteen- Visit KelbytrainingLIVE.com wheeler full of gear around with you. For Sit tight as he shows you an insider’s over five hours, Joe will be shooting on- world’s top Lightroom experts. or call 800.201.7323 to register. view of Lightroom. From Start to Finish, 024

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column › › DESIGNMAKEOVER JAKE WIDMAN CLIENT Alvon Johnson www.AlvonJohnson.com rif s on a business card BEFORE Alvon Johnson is a charismatic performer, talented guitar player, and engaging vocalist. In 2005, he was named the (San Francisco) Bay Area Blues Society’s Guitar Player of the Year, and he’s sung with the legendary R&B group, The Coasters. These days, his per- formances are as varied as his career: One day he might be playing an outdoor blues festival, the next providing solo jazz guitar for an upscale party at a winery, and the day after that jetting off to appear at a music festival in Poland. Wherever he goes, he brings his business card with him. “My business is based on performing,” he says. “I never miss a chance to hand out my card if someone asks.” At one time, he carried two different cards, one suitable for smaller, more intimate gigs, and one for louder, larger band settings. But these days he only has a single, two-sided card that has to work for both contexts. One side has his photo with his instrument, and the other has his contact info, and lists his skills. Both sides feature his f rst name in a script font, which is also engraved on the front of his guitar. Johnson is no longer happy with his current card, though. “It doesn’t really do anything for me anymore,” he says. He likes the fact that it has a photo—he says he always tries to touch the audience from the heart—but worries that the current photo looks dated. He’d like a new business card that matches his tal- ent level, and looks professional and experienced, but still friendly “ I WANT MY CARD TO and approachable. “I want my card to make people think, ‘Whoa! MAKE PEOPLE THINK, This guy’s going to be expensive—but he’s worth it,’” he says. ‘WHOA! THIS GUY’S GOING We asked three designers to give Johnson a card that matches his TO BE EXPENSIVE— audience-pleasing personality. BUT HE’S WORTH IT.’ ” › › photoshop user › november 2013 MAKEOVER SUBMISSIONS WE’RE LOOKING FOR PRODUCT PACKAGING OR LABELS, PRINT ADVERTISEMENTS, WEBSITES, AND MAGAZINE COVERS THAT ARE CURRENTLY IN THE MAR- KETPLACE FOR FUTURE “DESIGN MAKEOVERS.” SO IF YOU OR SOMEONE YOU KNOW HAS A DESIGN THAT YOU’D LIKE US TO CONSIDER MAKING OVER, OR (NOTE: THIS IS PURELY A DESIGN EXERCISE AND THE DESIGNERS DO NOT WORK DIRECTLY WITH THE CLIENT, CREATE FUNCTIONING WEBSITES, ETC.) 026 IF YOU’RE A DESIGNER AND YOU’D LIKE TO BE CONSIDERED FOR A FUTURE “DESIGN MAKEOVER,” SEND US AN EMAIL AT [email protected].

› › design makeover DESIGNER Ryan Dozier www.ryandoz.com AFTER When I f rst looked at Alvon’s business card, I knew that some major changes were in order. His design was functional but certainly not compelling enough to stand out in a stack of cards on a booking agent’s desk. Since there’s little continuity between Alvon’s card design, his website, and other marketing materials, I decided to set out in a new direction. Rather than use a photo on the front of the card, I opted for a custom illustration that would encourage someone to look at the card more than once. I knew that I wanted to include a guitar some- where on the card, considering that it’s the main icon that repre- sents him. Other themes that seem to go with his identity include musical complexity, artistic talent, and depth. By arranging sheet music characters around the silhouette of a guitar, I was able to sug- gest all of these things in a design that catches the eye. Being able to match a face to a card is important in the music industry, so I f lled the back of the card with Alvon’s image. I reduced the amount of text, preferring to let the photo and illustration make the primary impact. I used two fonts, both made available by the Lost Type Co-op: Lavenderia, designed by James T. Edmonson, is the script font used for Alvon’s name on both sides of the card; Abraham Lincoln, designed by Frances Macleod, is the serif font used for the informa- tional content. I chose these contrasting fonts to give the viewer an “ BEING ABLE TO MATCH A impression of Alvon’s classiness and breadth of character. FACE TO A CARD IS IMPORTANT The card that resulted from this process has a distinctive look IN THE MUSIC INDUSTRY, SO and a custom design that tells viewers, “This guy is serious about his I FILLED THE BACK OF THE music.” The illustration also has a certain timelessness that will serve CARD WITH ALVON’S IMAGE. ” Alvon well into the future and at all levels of the music industry. ABOUT THE DESIGNER RYAN DOZIER Ryan Dozier is a graphic designer living in the beautiful Surprise Valley of northeastern California. Once upon a time, he attended the Savannah College of Art and Design. Now, although nowhere near a big city, he keeps himself busy as a freelance graphic designer via › › www. photoshopuser .com the magic of the Internet. His clients are spread out across the U.S., and his projects include custom illustration, logo and branding design, print media, and even some Web design. In his free time, Ryan likes to keep things simple. He works on the local ambulance crew as an EMT, carries his weight in a one-acre vegetable garden, bakes sourdough bread for the farmers’ market, mends barbed-wire fences, and is trying to f nish building a house. In the rest of his free time, Ryan rock climbs and laughs a lot with his beautiful life partner, Alexandra, and their two dogs, Blue and Parsnip. APPLICATIONS USED: Adobe Photoshop CS6 and Adobe Illustrator CS6 027

design makeover › › DESIGNER C. Alexander Cohen http://identity-us.com AFTER The text side of the existing card seemed a bit busy to me, and it doesn’t at all ref ect the work of the artist. I’ve always believed that because this is a graphic medium, a business card needs to show as well as tell. I prefer to be guided by some interplay with the client, but in this case all I really had was his statement that the existing card “doesn’t do anything for me anymore.” I wanted to show both the elegant (since he wanted the card to say he was expensive and worth it) and the doo-wop (ref ecting his history) sides of the client. One simple way to decrease busyness, without losing info or leg- ibility, is to increase the real estate. Using a fold-over card does this handily, with the added benef t of making the card stand out among others, at minimal extra cost. For the cover, I created a feathered white circle in Photoshop to represent a spotlight, and then placed that on gloss black, with a photo of the artist in the spot—very little says “elegant show biz” more! This is backed up by the “Alvon” signature from the existing card, placed behind the photo, but in front of the spot. I’d specify one side of the card to be coated stock, but a textured effect could be accomplished with varnish. On the inside, the f rst thing you see is the artist’s name and what he does, in the style of a 1950s jukebox card. To that end, the paper is colored to look aged, with a faint “Alvon,” as on the front. The top “ FOR THE COVER, I CREATED A portion gives extra room to show not only the contact information FEATHERED WHITE CIRCLE IN from the existing card, but also testimonial references of his achieve- PHOTOSHOP TO REPRESENT ments. The fonts chosen—variants of Univers—were designed in and A SPOTLIGHT, AND THEN are archetypal of the ’50s, to maintain the classic soul vibe. PLACED THAT ON GLOSS BLACK, WITH A PHOTO OF THE ARTIST IN THE SPOT. ” › › photoshop user › november 2013 ABOUT THE DESIGNER C. ALEXANDER COHEN Alex studied and worked as a theatrical designer in the Boston area before succumbing to the family business of advertising. Once there, he con- centrated on the design aspects, foregoing copywriting and ad specialties sales (which he also did), but continuing to do photography. He began with f lm and hand retouching before changing with the times and moving to digital. Around 1989, when the Mac II was a dream machine, he discovered computers and found out he liked them and they liked him. After that, he divided his time between doing design and teaching it on the individual, college, and corporate levels. He’s handled clients, large and small, from Newport, Rhode Island, to southern Maine. Alex is an Adobe Solutions Partner. He’s also written a comic novel, Humhucker, and a work on economics, called The Root of All Evil. He currently lives in Dover, New Hampshire. APPLICATIONS USED: Adobe Photoshop CS6 and QuarkXPress 9.5.3 028

› › design makeover DESIGNER Cintia Stela www.stelacreative.com AFTER Alvon says he’s tired of his current card, and isn’t fond of the photo anymore (although I love it); so, to avoid using a photo that becomes dated, I thought I could play with his silhouette. I chose one of his photos from a concert, and vectorized his shape in Illustrator, add- ing the “Alvon” signature (one of his special marks) to the guitar in the illustration. Since guitars (playing, teaching) are his specialty, I chose a compelling jazz guitar photo to use as the background. I applied the silhouette over the guitar background in Photoshop and used the same font as his current business card—Alan Meeks’s Bickley Script—for his name, to keep it consistent with his other marketing materials. Using InDesign for the layout process, I changed the order of the elements on the back of the card for a clearer message. At the top is his name, followed by his “Player of the Year” award, which denotes success and fame. In the center, I highlighted his “availability for all musical occasions,” followed by his main services. And, at the bot- tom of the card, the brown background separates the contact infor- mation from the rest of the card, allowing for better organization, and making the contents of the card stand out more. This way, the contact info is toned down and, at the same time, it’s easy to f nd. Besides better organizing the information for more clarity, I chose to use the simple, sans-serif font ITC Avant Garde Gothic for all the information on the card (with the exception of Alvon’s name). By “ SINCE GUITARS (PLAYING, using this condensed font, I was able to lay out the content using TEACHING) ARE HIS SPECIALTY, less space, which allowed me to include Alvon’s silhouette on the I CHOSE A COMPELLING background for extra oomph. JAZZ GUITAR PHOTO TO USE AS THE BACKGROUND. ” ABOUT THE DESIGNER CINTIA STELA Born and raised in São Paulo, Brazil, Cintia has a bachelor’s degree in communications and advertising from Faculdade Cásper Líbero in her hometown. In 2008, Cintia moved to Canada for six months to allow her to practice her English while working as a graphic design intern. She quickly became an important team member and was sponsored to stay and work as a full-time employee, which prompted her to become a permanent resident with plans to live in Canada indef nitely. › › www. photoshopuser .com After four years as the art director of an advertising and marketing firm in the Gastown district of Vancouver, Cintia went on to found Stela Creative Services, her own graphic and Web design business. Besides juggling design, marketing, and administrative work at her home office, Cintia’s hobbies are composing songs with her guitar, practicing and studying yoga, reading books on personal and professional development, and spending time with her loved ones, in person or through Skype. ■ APPLICATIONS USED: Adobe Photoshop CS6, Adobe Illustrator CS6, and Adobe InDesign CS6 029





h o w -t o › › DOWN & DIRTY TRICKS FELIX NELSON Planes Logo I love Disney animation movies, and I almost always love the logos that are created to support these feature f lms. They’re clever and creative and they always make me want to try and re-create them using Photoshop. The Disney animation movie Planes is no dif erent. Even though the logo uses basic design elements, it has a very “Air Force” look and feel while still maintaining a light, fun factor. STEP ONE: Open the Wings_logo_paths.psd. Create a new layer (Layer 1) by clicking on the Create a New Layer icon at the bottom of the Layers panel. Now, press D to set the Foreground color to black and the Background color to white. Command-click (PC: Ctrl-click) on the thumbnail for Path 1 in the Paths panel (Windows>Paths) to make it a selection. Press Option-Delete (PC: Alt-Backspace) to f ll the selection with black. Press Command-D (PC: Ctrl-D) to deselect. Click on the Foreground color swatch, choose red as the color (R:252, G:14, B:23), and click OK. Create a new layer (Layer 2). Command- click (PC: Ctrl-click) on Path 2 in the Paths panel to make it a selection. Press Option-Delete (PC: Alt-Backspace) to f ll the selection with red. Deselect. [NAPP members may download the f le used in this tutorial from http://members.photoshopuser.com/magazine/issue/ november-2013. All f les are for personal use only.] STEP TWO: Choose the Single Column Marquee tool (under the Rectangular Marquee tool [M]) and click once to make a selection on the left side of the wing. Hold the Shift key to add to the selection and make a selection on the right side of the wing. Press Command-L (PC: Ctrl-L) to bring up the Levels dialog. Move the Highlight Output Levels slider (on the lower › › photoshop user › november 2013 (ƒx) at the bottom of the Layers panel and choose Bevel & right) to 183, and click OK. Deselect. STEP THREE: Click on the Add a Layer Style icon Emboss. Enter 200% for Depth and 75 px for Size. Uncheck Use Global Light and enter 90° for Angle and 60° for Altitude. Choose Overlay as the Highlight Mode, raise the Highlight Mode Opacity to 100%, and lower the Shadow Mode Opacity to 0%. Now, choose Gradi- Layer Style dialog. Choose Multiply as the Blend Mode, enter 50% for Opacity, check the Reverse box, choose Ref ected as the Style, and enter 0° for Angle and 120% 032 ent Overlay from the Styles list on the left side of the for Scale. Click OK to apply the layer styles.

› › DOWN & DIRTY TRICKS STEP FOUR: Add a new layer (Layer 3). Choose the Elliptical Mar- quee tool (under the Rectangular Marquee tool [M]). While holding the Shift key (to constrain the selec- tion), click-and-drag a small circular selection on the left side of the wing just to the left of the dark vertical line we created in Step Two. Fill the selection with the red Foreground color. Click the Add a Layer Style icon and choose Drop Shadow. Simply click OK to apply the default settings. Now, while pressing Shift-Option-Command (PC: Shift-Alt- Ctrl), click-and-drag the selection down to duplicate the rivet. Repeat until you’ve created rivets on both sides of the dark vertical line (release the Shift key to copy your f rst rivet to the right side of the dark vertical line). Create rivets on the right side of the wing, as well. STEP FIVE: Choose a light blue for the Foreground color (R:112, G:166, B:204), and add a new layer (Layer 4). Command- click (PC: Ctrl-click) on Path 3 in the Paths panel and f ll the selection with the light blue. Click on the Add a Layer Style icon and choose Bevel & Emboss. Enter 100% for Depth and 7 px for Size. Uncheck Use Global Light and enter –84° for Angle and 42° for Altitude. Click on the down-facing arrow next to the Gloss Contour thumbnail and choose Ring. Enter 100% for the Highlight Mode Opacity and click OK. STEP SIX: Choose an even lighter blue for the Foreground color (R:168, G:215, B:243), and add a new layer (Layer 5). Command-click (PC: Ctrl-click) on Path 4 and f ll the selection with the blue. Click on the Add a Layer Style icon and choose Bevel & Emboss. Set the Tech- nique to Chisel Hard, and enter 100% for Depth and 8 px for Size. Uncheck Use Global Light and enter 90° for Angle and 25° › › www. photoshopuser .com for Altitude. Click on the down-facing arrow next to the Gloss Contour thumbnail and choose Ring – Double. Enter 100% for the Highlight Mode Opacity and 60% for the Shadow Mode Opacity. Choose Contour from the Styles list under Bevel & Emboss. Set the Contour to Half Round, but don’t click OK yet. 033

DOWN & DIRTY TRICKS › › STEP SEVEN: Choose Gradi- ent Overlay from the Styles list. Click on the Gradient thumbnail to open the Gradient Editor, choose the Chrome preset, and click OK. Lower the Opacity to 45%, check the Reverse box, choose Ref ected as the Style, and enter 88% for Scale. STEP EIGHT: Now, choose Outer Glow from the Styles list. Choose Multiply as the Blend Mode, and lower the Opacity to 65%. Click on the yellow color swatch, choose black as the color, and click OK. Enter 15 px for Size and click OK to apply the layer styles. STEP NINE: Choose the Gradient tool (G) from the Toolbox. Click on the Gradi- ent thumbnail in the Options Bar, choose the Chrome preset, and click OK. Add a new layer (Layer 6). Command-click (PC: Ctrl-click) on Path 5. Hold the Shift key, and click-and-drag a linear gradient from the top toward the bottom of the selec- tion. Click on the Add a Layer Style icon and choose Bevel & Emboss. Set the Technique to Chisel Hard, and enter 100% for Depth and 8 px for Size. Uncheck Use Global Light and enter –90° for Angle and 16° for Altitude. Click on the down-facing arrow next to the Gloss Contour thumbnail and choose Cone – Inverted. Click on the Shadow Mode color swatch, choose a light-brown color (R:127, G:72, B:35), and click OK to close the Color Picker. Choose Contour from the Styles list under Bevel & Emboss. Choose Cove – Deep for the Contour, but don’t apply the style yet. › › photoshop user › november 2013 the down-facing arrow next STEP TEN: Choose Satin from the Styles list. Click on to the Contour thumbnail and choose Ring – Double. Choose Outer Glow from the Styles list. Choose Multiply as the Blend Mode and enter 40% for Opacity. Click on the color swatch, choose from the Styles list. Lower the Opacity to 50%; uncheck Use Global Light; and enter 90° for Angle, 7 px for Distance, and 8 px for Size. Click OK to apply the layer styles. 034 black, and click OK. Enter 8 px for Size. Choose Drop Shadow continued on p.47

› › DOWN & DIRTY TRICKS STEP ELEVEN: Change the Foreground color to a darker blue (R:104, G:135, B:177). Choose the Gradient tool, and click on the Gradient thumbnail in the Options Bar. Choose the Fore- ground to Background preset, and click OK. Add a new layer (Layer 7). Command-click (PC: Ctrl-click) on Path 6 in the Paths panel. Hold the Shift key, and click-and-drag a gradient from the center toward the top of the selection. Click on the Add a Layer Style icon and choose Bevel & Emboss. Choose Smooth as the Technique and enter 150 for both Depth and Size. Choose Inner Shadow from the Styles list. Choose Overlay as the Blend Mode, click on the color swatch, choose white as the color, and click OK. Uncheck Use Global Light and enter –90° for Angle. Don’t click OK yet. STEP TWELVE: Choose Pattern Overlay from the Styles list. Choose Overlay as the Blend Mode and set of patterns, and choose Bark. Enter 15% for Scale. Choose lower the Opacity to 60%. Click on the Pat- tern thumbnail, click on the gear icon at the top right of the Pattern Picker, and select Texture Fill at the bottom of the menu. Click OK to load this Outer Glow from the Styles list, and change the Blend Mode to Multiply. Click on the color swatch, choose a blue color (R:104, G:131, B:163), and click OK. Click OK to apply the layer styles. Deselect. STEP THIRTEEN: Add another new layer (Layer 8). Change the layer blend mode to Overlay in the Layers panel. Choose the Brush tool (B). Using a small, soft-edged brush set to white, paint some highlight areas over the chrome edges of the wing and sides of the letters (see example). We’ve added some text and a small star to complete the effect. ■ › › www. photoshopuser .com 047

h o w -t o › › DOWN & DIRTY TRICKS FELIX NELSON Simple Neon Line Art Here’s a technique I saw on a promo poster for the movie Afternoon Delight. It’s such a simple, yet eye- catching idea: create basic neon line art as the main design element, then tie in your type with the same basic ef ect. In a sea of overdesigned, really busy Photoshop composites, this design stood out from the crowd. Sometimes the simplest form is the most ef ective. STEP ONE: Open the Neon_Art.psd f le. Create a new layer (Layer 1) by clicking on the Create a New Layer icon at the bot- tom of the Layers panel. Click on the Foreground color swatch near the bottom of the Toolbox, choose a purple color (R:76, G:0, B:153), and click OK to close the Color Picker. Choose the ISTOCKPHOTO, ALVAREZ, IMAGE #2779867 Brush tool (B) from the Toolbox. Select a small (4 pixels), hard- edged (100% Hardness) brush. Now, go to the Paths panel november-2013. All files are for personal use only. If you (Window>Paths), Right-click on Path 1 (the sofa), and choose Stroke Path. When the Stroke Path dialog appears, choose Brush as the Tool, and click OK. A purple brush stroke will ap- pear over the sofa. [NAPP members may download the file used in this tuto- rial from http://members.photoshopuser.com/magazine/issue/ want to apply this technique to your own images, you’ll need to visually separate them into basic elements (like the sofa, people, and books in our example) and then create paths for each element.] STEP TWO: Click on the Add a Layer Style icon (ƒx) at the bottom of the Layers panel and choose Inner Glow. Choose Screen as the Blend Mode, enter 53% for Opacity, choose Center as the Source, and enter 0 for both Choke and Size. Click on the color swatch, select white for the color, and click › › photoshop user › november 2013 Screen as the Blend Mode, enter 100% for Opacity, click on OK to close the Color Picker. Now, choose Outer Glow from the Styles list on the left side of the Layer Style dialog. Choose the color swatch, choose a light purple (R:189, G:106, B:227), and click OK to close the Color Picker. Enter 6 px for Size and click OK to apply the two layer styles. You won’t really be able to see the basic neon effect on the light-colored background just yet (it simply appears a little lighter than before), but we’ll 048 take care if that in a minute.

› › DOWN & DIRTY TRICKS STEP THREE: Create a new layer (Layer 2). Change the Foreground color to a hot pink color (R:238, G:31, B:167). Go to the Paths panel and Right-click on Path 2 (the two people) and choose Stroke Path. When the Stroke path dialog appears, choose Brush as the Tool and click OK. A hot-pink brush stroke will appear over the people in the image. Yep, it looks pretty silly right now, but you’ll have to trust us. STEP FOUR: While pressing down Option (PC: Alt), click directly on the word “Effects” below Layer 1 and drag it onto Layer 2. This duplicates and applies the same layer styles you created in Step Two onto Layer 2. Double-click on the words “Outer Glow” below Layer 2 to edit the layer style. Click on the light-purple color swatch, choose a light-pink color (R:216, G:120, B:184), and click OK. Click OK to close the Layer Style dialog and apply the edited layer style. Yes, we realize it still doesn’t look like much yet. STEP FIVE: Add another new layer (Layer 3). Press D then X to set the Foreground color to white. Go to the Paths panel, Right-click on Path 3 (the books), and choose Stroke Path. When the Stroke path dialog appears, choose Brush as the Tool and click OK. Click on the Add a Layer Style icon at the bottom of the Layers panel and choose Outer Glow. Choose Screen as the Blend Mode, enter 60% for Opacity, click on the color swatch, choose white as the color, and click OK. Enter 6 px for › › www. photoshopuser .com Size and click OK to apply the layer style. 049

DOWN & DIRTY TRICKS › › STEP SIX: Finally, add one more layer (Layer 4). Press Command-Delete (PC: Ctrl-Backspace) to f ll the entire layer with black. Now, drag Layer 4 below Layer 1 in the Layers panel to reveal the neon art and complete the effect. ■ Before After › › photoshop user › november 2013 Here’s how the poster appears once title and add some additional text. 050 we add the same effect to the movie

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› › key concepts: Quick Selection tool Warp tool DOWN & DIRTY TRICKS COREY BARKER Floating Mountains of Pandora While I can’t say this idea wasn’t inspired by the movie Avatar, it was a rather happy accident. I was search- ing through some stock images for another project when I stumbled on this image of Ko Tapu (a.k.a. James Bond Island) and thought it demanded the Hollywood treatment. So read on to see how to make reality into fantasy! STEP ONE: To create our own version of these floating mountains, we need to f rst f nd an image that will work. This one I found on Fotolia.com by accident! I was searching for something else when this caught my eye. That rock just seemed so otherworldly I couldn’t resist. [NAPP members may download the f les used in this tutorial at http://members.photoshopuser.com/magazine/issue/ FOTOLIA, OSA90_90, IMAGE #39588671 the small trees at the top, as well. Use the Left Bracket key to Step One november-2013. All f les are for personal use only.] STEP TWO: We need to extract the rock from the back- ground, so choose the Quick Selection tool (W) in the Toolbox. Click-and-drag the tool over the rock to generate a selection of it. Be sure all of the rock is selected and don’t forget to include decrease the size of the brush for the smaller details. When the basic selection is done, click on the Ref ne Edge button up in the Options Bar. STEP THREE: Press W to view your selected area on a white background. In the Ref ne Edge dialog, click on the tool icon next to the Edge Detection section and choose the Ref ne Radius tool (E). Using the Right Bracket key, increase the brush size so it’s large Step Two Step Three enough to cover the area of the trees around the top of the island. Click- and-drag over any edge areas that › › photoshop user › november 2013 drop-down menu to New Layer, and click OK. need ref ning to help remove the sky. At the bottom of the Ref ne Edge dialog, set the Output To STEP FOUR: Now you can still see the waterline at the bottom of the island, but since this is going to be a f oating mountain, it needs to have a more tapered bottom. Use the to use for the bottom of the f oating island, as shown here. Press Command-J (PC: Ctrl-J) to copy that selected area to a new layer. 052 Lasso tool (L) to draw a selection in the shape that you want Step Four

› › DOWN & DIRTY TRICKS STEP FIVE: Drag this new layer below the original extracted island layer in the Layers panel. Then, use the Move tool (V) to reposition this layer so it extends beyond the bottom of the island. Invoke Warp (Edit>Transform>Warp), and tweak the layer slightly to better f t to the original. Press Enter to commit the transformation. STEP SIX: Click on the original extracted island layer at the top of the layer stack to make it active. Click the Add Layer Mask icon (circle in a square) at the bottom of the Layers panel to add a layer mask. Switch to the Brush tool (B), and press X until the Foreground color is black. Using a soft-edged brush, paint to mask away the waterline at the bottom of the original island and to seamlessly blend the two layers. Step Five STEP SEVEN: Hold down the Option (PC: Alt) key, click on the f yout menu at the top right of the Layers panel, and choose Merge Visible. This will create a f attened copy of all the visible layers into a single new layer above the currently active layer. STEP EIGHT: Now we need a back- drop, so open the sky_image.jpg from the download f les. This will make a great Step Six sky backdrop for our f oating mountain. While the sky looks good in this shot, it’s not dramatic enough. Make a duplicate SKY IMAGE: FOTOLIA, BOMBOMAN, IMAGE #39672963 of the Background layer by pressing Com- mand-J (PC: Ctrl-J). Remove the color from the duplicate layer by pressing Shift-Command-U (PC: Shift-Ctrl-U), and change the layer blend mode to Multiply near the top left of the Layers panel. STEP NINE: Using the Move tool, drag the island into this sky background (if you add the Shift key as you drag-and-drop, the island will land in the center of the canvas). Press Command-T (PC: Ctrl-T) for Free Transform. Hold the Shift key and drag a corner point to scale the island down just a bit to f t the com- Step Nine › › www. photoshopuser .com position better. Press Enter to commit the change. If you see any pixels around the island from its original background, go to Layer>Matting>Defringe. Enter 1 pixel and click OK. STEP TEN: To make it look like the island is actually in the clouds, let’s bring one of the clouds in front of the island. Click on the Eye icon next to the island layer to turn it off for the mo- Step Ten ment, and click on the desaturated sky layer (Layer 1) to make it active. Using the Lasso tool, draw a loose selection around the cloud at the bottom of the image, then click on the Ref ne Edge 053

DOWN & DIRTY TRICKS › › button in the Options Bar. Use the same Ref ne Radius tool to paint a better selection around the cloud. Once the ref nement is done, set the Output To drop-down menu to Selection and click OK. STEP ELEVEN: Make the island layer visible and active, and then hold the Option (PC: Alt) key and click the Add Layer Mask icon. You should see the selected cloud appear in front of the island. Duplicate this layer by pressing Command-J (PC: Ctrl-J). As we did with the sky image, desaturate this duplicate Step Eleven Step Twelve layer by pressing Shift-Command-U (PC: Shift-Ctrl-U) and then change the layer blend mode to Soft Light. STEP TWELVE: To help blend the island into this cooler environment, keep the desaturated island layer active and press Command-U (PC: Ctrl-U) to open the Hue/Saturation dialog. Check on Colorize and set the Hue to 220 and the Saturation to 30. Click OK. STEP THIRTEEN: Make the desaturated sky layer (Layer 1) active and select the Burn tool (nested under the Dodge tool [O] in the Toolbox). Set the Range to Midtones and the Exposure to 50% in the Options Bar. Paint on the cloud at the bottom of Step Thirteen the island to create a shadow being cast from the island itself. STEP FOURTEEN: Now make the top layer active in the Layers panel. Create a merged copy like we did earlier by hold- ing the Option (PC: Alt) key and choosing Merge Visible from the Layers panel f yout menu. STEP FIFTEEN: Press Command-U (PC: Ctrl-U) to open the Hue/Saturation dialog. Check on Colorize again and set the Hue to 205 and the Saturation to 25. Click OK. This will put a blue cast over the entire layer. Change the layer blend mode to Soft Step Fifteen Light and drop the Opacity to about 50%. STEP SIXTEEN: As a f nishing touch, I added a little waterfall, which could be the reason for the cloud below. Who knows? I also added a planet in the up- › › photoshop user › november 2013 f oat unless there was some gravitational per atmosphere to add to the fantasy as- pect—not to mention the island couldn’t pull from another celestial body. C’mon, everyone knows that! ■ 054 Step Sixteen

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Text in Photoshop By Corey Barker I’ve been a designer for the better part of 20 years, and I’ve seen design trends come and go. Some have endured and many have faded into obscurity. As Photoshop has always been my tool of choice for › › photoshop user › november 2013 almost every creative venture, there was one thing ILLUSTRATION BY FELIX NELSON; SCROLL ART: ISTOCKPHOTO, ROBIN_HOOD, IMAGE #19232304 that seemed to always be missing when it came to designing with text in Photoshop—3D. Not just 3D text, but the ability to manipulate and render it to It seemed a natural fi t for Photoshop. 056 look as real as any other high-end 3D application.

Several years ago, Adobe had an inter esting little application Not too long after the demise of Dimensions, Adobe decided called Adobe Dimensions. This standalone pro gram was limited to roll some of its 3D features into Live Effect in Illustrator CS, yet powerful, as it could create 3D Post Script vector art, which essentially putting a scaled-down version of Dimensions in Illustra- could be imported into Illustrator or Photoshop to create inter- tor. Though different in appearance, it had many of the same esting 3D effects. It was lim ited because you could only create features that were available in Dimensions, and because it was basic shapes or do simple extruding or revolving. At the time, it originally a vector-based app, it seemed right at home in Illustrator. was the best option So I continued to use these tools to create numerous 3D concoc- among a few cheap tions including 3D text, which I would create in Illustrator and plug-ins that also bring over to Photoshop as a vector smart object. Since Photoshop faked 3D in various didn’t support 3D at the time, that was the only way to edit the ways. After having angle of the 3D text by going back to the original f le, making minimal success the changes in Illustrator, and then saving it back to Photo shop. with that program, It involved many more steps but it did work; however, I still had to Adobe decided to fake the rendering and create the lighting and ref ections myself— discontinue it, even all this at a time when we had only a fraction of the computing though it was the power we have now. Growing pains indeed! only 3D offering This example was done creating a simple text extrusion in Adobe had at Illustrator and then bringing it into Photoshop. As much as the time. I like the f nal product, the workf ow process was tedious. › › www. photoshopuser .com 057

was a level of realism you just couldn’t fake, and I wanted to One day while we were working in our off ces here at the be able to do that in Photoshop. The engineer told me that 3D NAPP, we learned that there were 3D features coming to the text wasn’t planned as of yet. Alas, my 3D aspirations would next version of Photoshop, which was CS3 at the time. Later have to wait—at least until the next version. that year we attended a summit at the Adobe headquarters in San Jose, California. We met some of the Photoshop team and watched exclusive demos of the new Photoshop features, When Adobe rolled out Photoshop CS4, it seemed that they including 3D. We were excited to see these new features f rst- were listening to designers, as we were given the ability to create hand. Halfway through the demonstration, the wind was taken primitive 3D shapes such as cubes, spheres, cones, etc. You could from my sails as I discovered the 3D features were only to sup- even place a f at 2D image in 3D space and generate accurate port f les that were created in other applications, such as Maya perspective. This was pretty cool and a step in the right direction; or 3ds Max. That was it. You could bring in 3D models and however, there were still no 3D type tools. adjust mesh textures and some lighting, but it was still limited. So you might be asking, “Well, Corey, why don’t you just do At the end of the demo, I asked if there were any future plans 3D type in another 3D program?” Much easier said than done. to allow the creation of 3D text in Photoshop, because at the At the time, 3D software was still really expensive and was very time I was really inspired by the use of 3D text in movie posters hard and tedious to learn. All I wanted was the ability to create such as Tomb Raider (www.imdb.com/title/tt0146316). This true 3D text in a familiar application and use the power of Photo - shop to add realism. Learning a new 3D text. So my wait continued. This 3D program seemed overkill for some doesn’t mean I didn’t experiment with the new features in CS4, and I soon discovered some really interesting tricks, but we’ll get to that. As the cycle continued, Adobe released Photoshop CS5. This ver- sion had quite a few enhancements to the 3D features in Photoshop, but they were now called Repoussé. Why? Prob ably because it sounded artsy and cool but all it did was con- fuse people. When you’re introducing 3D to designers, you need to be as straightforward as possible. When have you ever used repoussé in casual conversation? In case you’re curious, repoussé is the practice of creating relief sculptures in sheets of metal by hammering the metal into shape from the backside. Essentially, mak- › › photoshop user › november 2013 to catch on, these new features, ing 3D from 2D. Though this nomenclature failed however, did allow you to create 3D text in Photoshop, among other things. You could extrude text into 058

a 3D object, which you would modify using the Repoussé panel. Finally, we could create 3D text in Photoshop! It wasn’t quite all the way there yet, but it was a huge stride forward. The fact that you couldn’t edit the text after the 3D conversion made you committed to whatever you were doing, so if you wanted to change the text, you had to start over again. Since CS5 created really smooth 3D from vector paths, I started experiment - ing with different ways to create logo vector paths and then convert them to 3D in Photoshop. Here are a couple examples of 3D created in CS5. The artwork pretty much had to be fully realized before any 3D conversion could happen because once it was converted to 3D, there was no going back. In both examples, you can see the combination of 3D text and 3D ele- ments to complete the overall look. When CS6 was released, I did a dance of joy, as we now had the full capability to create, modify, and ren- der 3D text, complete with accurate lighting, ref ections, and shadow prop- erties. Once I started experimenting with these features in CS6, I f nally felt like designers could easily create 3D text in Photoshop and render it with realistic 3D properties. I was ready to see if I could achieve the same level of depth and realism those complex 3D programs could render. › › www. photoshopuser .com 059

THE TEXT OF A NEW GENERATION The journey has been long but we have f nally arrived at a place that allows us to create and modify 3D text. With most limitations now alleviated, we can push our creative ideas fur- ther than ever before with the assurance that we can improvise along the way and tweak it until it’s just right. Let’s create some 3D text so you can see how easy it is to get started. STEP ONE: Create a new document (File>New), switch to the Type tool (T), click in the document to set a text layer, and enter some simple text. As a rule, it’s a good idea to use thick, bold fonts as they show more volume in 3D. Once you have the text set, switch to the Move tool (V), press Command-A (PC: Ctrl-A) to select all, and click the Align Vertical Centers and Align Horizontal to center the text in the canvas Centers icons in the Options Bar area. Press Command-D (PC: Ctrl-D) to deselect. STEP TWO: Go to 3D>New 3D Extrusion from Selected Layer, and voilà, 3D text! It extrudes the text and applies a default light, which generates the shadow being cast on the ground plane. STEP THREE: With the Move tool selected, use the 3D tools located in the Options Bar (they’re the last f ve icons in the Options Bar). These allow you to manipulate the 3D object › › photoshop user › november 2013 to select it). Simply hover your cursor over different areas of the in 3D space. You can also use the axis widget, which appears over the object when the object is selected (click on the 3D object widget, look for the tool tip for the property you want to change, and then click-and-drag. STEP FOUR: When editing 3D, there are two crucial panels you need to have open: the 3D panel and the Properties panel, panels next to each other because they work hand-in-hand. Select the property you want to modify in the 3D panel and then those settings will appear in the Properties panel. 060 both located under the Window menu. I like to dock these two

STEP FIVE: You should see the 3D text line item in the 3D panel. Click on it and you’ll see some key settings in the Properties panel. In the lower area there are some text editing features. You can change the color and even modify the text formatting right from the Properties panel. You can also click on Edit Source and it will open the original f le with the text layer. Simply change the text, close and save the document, and it will update the 3D text accordingly—all without having to start over. But wait, there’s more. STEP SIX: Below the 3D text item in the 3D panel, you’ll see the individual materials layers (if you don’t see them, click the arrow to the left of the text item). You can highlight these and adjust the surface properties such as Shine, Ref ection, and even Bump maps to add depth and realism to the 3D text. Remem ber that Tomb Raider text? Not so out of reach now! › › www. photoshopuser .com The above steps should give you a really good idea ref ections. If you click on the Environment property in the of how easy it is to create 3D text in Photoshop. It took 3D panel, you’ll see settings for the Ground Plane Shadows some time but designers can f nally embrace 3D in a and Ref ections in the middle of the Properties panel. The comfortable place in Photoshop. From here, you can Opacity for Shadows is always set to 60% by default, but if continue to use the Properties panel to add ref ections, you don’t need the shadow, just drop the Opacity to 0%. textures, and bump maps. However, we also mustn’t forget that we’re in Photo- When the 3D object is initially created, it sits on an invis- shop. Before 3D, Photoshop did some amazing stuff, but ible ground plane, which can receive shadows and show now with 3D, you can achieve something extraordinary. 061

you can break it up into individual 3D objects using the Split DISCOVER THE POSSIBILITIES Once you have the basics down, you can start to push further no longer be edited once the split is made. Double-check that spelling! and incorporate more aspects of the 3D features, which go way beyond creating 3D text. Once you’ve created some 3D text, out as 2D. Here’s an example using the NAPP logo. I wanted Extrusion feature under the 3D menu. You can now manipu- 3D Logos: You can also make 3D versions of logos that start ed late each letter separately to create a different look, as in this a scratched metal look, as if it were forged in a factory, so I used example based on the movie The Lorax. I was able to light and a metal texture I found on Fotolia.com. I created the extruded position the 3D text as one word over the ground plane so that logo using vector paths that I imported into Photoshop, then it would cast a shadow. Then, I split the extrusion and changed used the Properties panel to add the metal texture to the surface. the orientation of each letter. The beauty here is that it keeps all I also wanted the text to look like it was protruding from the the letters in a single 3D layer; the downside is that the text can wall, so I used the same texture and converted it into a 3D post - card (3D>New Mesh from Layer>Postcard). Now I had two separate 3D layers but I wanted these two objects to in teract with each other, so I needed to merge them. You can merge › › photoshop user › november 2013 TEXTURED BACKGROUND: ISTOCKPHOTO, 3DMASTER, IMAGE #13405695 the only difference is that 3D layers the same way you merge regular layers; the 3D objects can still be manipulated separately. Once the objects were merged, I added lighting com ing from above, as enhance the glow of the heat. 062 well as from below to