How To Get A Flat Lable On A 3d Object In Photoshop

3D console overview

When yous select a 3D layer, the 3D console shows the components of the associated 3D file. The top section of the panel lists the meshes, materials, and lights in the file. The lesser section of the panel shows settings and options for the 3D component selected in the top section.

Photoshop 3D panel with Scene options — 3D panel displaying Scene options

A. Display Scene, Meshes, Materials, or Lights optionsB. Return presets menuC. Customize render settingsD. Select texture to pigment onE. Cross section settingsF. Toggle overlaysGrand. Add new lightH. Delete lite

The buttons at the elevation of the 3D panel filter the components that appear in the meridian section. Click the Scene button to show all components, click Materials to run across just materials, and so on.

Display the 3D panel

Choose Window > 3D.
Double-click the 3D layer icon in the Layers panel.
Choose Window > Workspace > Advanced 3D.

Filter the 3D options displayed

Click the Scene, Mesh, Materials, or Lights button at the top of the 3D panel.

Click the centre icon next to the mesh or light entry in the acme department of the 3D console.

You cannot turn cloth display on or off from the 3D panel. To show or hide materials, change the visibility settings for their associated textures in the Layers console. See 3D Materials settings.

Admission settings for the 3D scene

If not already selected, click the Scene entry at the top of the component list.

Admission settings for a mesh, material, or light

Click the Scene button to evidence all scene components. Then select a mesh, material, or lite in the top section.
Click the Meshes, Materials, or Lights push button to temporarily brandish just those components. And so select a single mesh, fabric, or low-cal.

Expand or plummet materials for a mesh

Click the triangle to the left of a mesh icon.

View the ground plane

The footing plane is a grid that reflects the position of the ground relative to the 3D model.

To view the ground plane, click the Toggle icon at the bottom of the 3D panel, and select 3D Basis Aeroplane.

The Toggle icon is enabled merely if OpenGL is available on your organisation.

At the bottom of the 3D panel, click the Toggle icon, and select 3D Light

Outline the selected material or mesh in the certificate window

At the bottom of the 3D panel, click the Toggle icon, and select 3D Pick.

When y'all select materials or meshes in the panel, a colored outline appears in the document window, helping you lot identify the current item.

To change the color of 3D overlays like cloth and mesh outlines, customize options in the 3D section of the Preferences dialog box.

Photoshop Outlining selected items — Outlining selected items in the document window

A. Materials are surrounded by a colored lineB. Meshes by a bounding box

3D Scene settings

Use 3D Scene settings to change render modes, select a texture to paint on, or create cross sections. To access scene settings, click the Scene push button in the 3D panel, then select the Scene entry in the elevation department of the console.

Render Settings

Specifies the render preset for the model. To customize options, click Edit.

Quality

Choose a setting which provides the all-time display quality while maintaining good performance:

Interactive (Painting)

Renders with OpenGL using the GPU on the video carte, producing high-quality results, but lacking detailed reflections and shadows. For nearly systems, this option is best for editing.

Ray Traced Typhoon

Renders using the CPU on the calculator motherboard, with typhoon-quality reflections and shadows. If your system has a powerful video carte du jour, the Interactive option may produce faster results.

Ray Traced Terminal

Best reserved for concluding output, this option fully renders reflections and shadows.

Tiles are temporarily drawn beyond the image during Ray Traced rendering. To interrupt the rendering process, click the mouse or spacebar. To modify the number of tiling passes, trading processing speed for quality, change the High Quality Threshold in the 3D preferences.

Photoshop Tiles temporarily drawn across image — Tiles are temporarily drawn across the image during Ray Traced rendering.

Paint On

When painting directly on the 3D model, use this menu to cull which texture map to paint on. See 3D painting.

You can also cull the target texture from the 3D > 3D Paint Mode bill of fare.

Global Ambient Color

Sets the color for global ambient light visible on reflective surfaces. This color interacts with the ambient color for specific materials. See 3D Materials settings.

Cross Section

Select to create a planar cross section that can intersect the model at an angle you cull. Allows you lot to piece through a model and view interior content. See View cantankerous sections.

View cross sections

You lot can view a cross department of a 3D model past intersecting information technology with an invisible airplane that slices through the model at any angle and displays content only on ane side of the plane.

Select Cantankerous Department in the lesser department of the Scenes tab.

Choose options for alignment, position, and orientation:

Plane

Select to display the intersecting aeroplane that creates the cross section. You can choose airplane color and opacity.

Intersection

Select to highlight the areas of the model that the cross section plane intersects. Click the color swatch to select the highlight colour.

Flip Cross Section

Changes the displayed surface area of the model to the opposite side of the intersecting plane.

Offset and Tilt

Utilise Offset to shift the airplane forth its axis, without changing its tilt. At a default get-go of 0, the plane intersects the 3D model at its midpoint. At maximum positive or negative offsets, the plane moves beyond any intersection with the model. Use Tilt settings to rotate the plane up to 360⁰ in either of its possible tilt directions. For a particular centrality, the tilt settings rotate the plane along the other two axes. For example, a plane aligned to the y‑axis can be rotated around the x‑centrality (Tilt i) or the z‑axis (Tilt 2).

Alignment

Select an axis (ten, y, or z) for the intersecting plane. The plane is perpendicular to the selected axis.

Apply unlike render modes to each cantankerous section

You can vary the render settings for each side of a cantankerous department to combine different views of the aforementioned 3D model, such as Wireframe with Solid.

Select Cross Department, and choose options in the bottom department of the Scenes tab. Your current render settings are practical to the visible cross section.

Click Render Settings, or choose 3D > Render Settings.

At the elevation of the dialog box, click the currently unselected Cross Section button.

Past default all return settings are turned off for the alternate cross section, making it announced invisible.

Cull render options for the alternate cross section, and click OK.

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In Photoshop CS6, 3D functionality was part of Photoshop Extended. All features in Photoshop Extended are function of Photoshop. Photoshop does non accept a separate Extended offering.

3D Mesh settings

Each mesh in the 3D model appears on a divide line in the top section of the 3D panel. Select a mesh to access mesh settings and data in the lower section of the 3D console.

Data includes the number of materials and textures practical to the mesh, besides as the number of vertices and faces information technology contains. You tin also set the following mesh display options:

To see shadows, ready the lights and select Ray Traced for render quality. See 3D Scene settings.

Catch Shadows

Controls whether the selected mesh displays shadows on its surface from other meshes.

To catch shadows from the ground plane on meshes, select 3D > Ground Airplane Shadow Catcher. To align these shadows with objects, select 3D > Snap Object To Footing Plane

Cast Shadows

Controls whether the selected mesh casts shadows on other mesh surfaces.

Invisible

Hides the mesh, but displays whatsoever shadows on its surface.

Shadow Opacity

Controls the softness of shadows cast by the selected mesh. The setting is helpful when blending 3D objects with layers below.

Click the eye icon next to a mesh name in the elevation department of the 3D console.

Dispense individual meshes

Use the mesh position tools to motility, rotate, or scale a selected mesh without moving the model as a whole. The position tools operate in the same way as the main 3D position tools in the Tools panel. For data on each tool, see Movement, rotate, or scale a 3D model.

Select a mesh in the top section of the 3D panel. The selected mesh is highlighted with a crimson box in the lower section of the panel.

Select and use a mesh position tool in the lower section of the panel to move the mesh.

To manipulate the entire model while an individual mesh is selected, use the 3D tools in the Tools panel.

3D Materials settings

The top office of the 3D console lists the materials used in the 3D file. One or multiple materials may be used to create the overall advent of the model. If a model contains several meshes, at that place may be a specific cloth associated with each mesh. Or a model tin be congenital from i mesh merely employ dissimilar materials in different areas.

Photoshop Selected material and its associated texture maps — A selected material and its associated texture maps.

A. Displays Materials optionsB. Selected materialC. Materials pickerD. Textile Drop and Select toolsE. Texture map card iconF. Texture map types

For a selected material in the height department of the 3D panel, the lower department shows the item texture maps used by that material. Some texture types, such as Lengthened and Crash-land, commonly rely on second files to supply a particular color or pattern that creates the texture. For other texture types, you may not need a split 2nd file. For case, you can directly arrange Gloss, Shine, Opacity, or Reflection past entering values.

The texture maps used by a cloth appear as Textures in the Layers panel, grouped by the texture map category.

To come across a thumbnail of a texture map paradigm, hover the mouse over the texture proper name (for case, Reflection or Illumination).

Lengthened

The colour of the material. The diffuse map can be a solid colour or any second content. The Diffuse color swatch value sets the diffuse color if you choose to remove the diffuse texture map. You can besides create a diffuse map by painting directly on the model. See 3D painting.

Opacity

Increases or decreases opacity of the material (0-100%). You can employ a texture map or the scrubby slider to command opacity. The grayscale values of the texture map control the opacity of the material. White values create complete opacity and black values create consummate transparency.

Crash-land

Creates bumps in the material surface, without altering the underlying mesh. A crash-land map is a grayscale paradigm in which lighter values create raised surface areas and darker values create flatter surface areas. You lot tin create or load a bump map file, or begin painting on the model to automatically create a bump map file. Run into 3D painting.

The Bump field increases or reduces bumpiness. It is only active if a bump map exists. Enter a number in the field or utilize the scrubby slider to increase or decrease bump strength.

Bumpiness is nearly pronounced when a surface is viewed head on, rather than at an angle.

Normal

Like a bump map texture, a normal map increases surface item. Unlike a crash-land texture map, which is based on a single-channel grayscale image, a normal map is based on a multi-channel (RGB) image. The values of each colour aqueduct represent the x, y, and z components of a normal on the model surface. A normal map can be used to smooth the surfaces of low polygon meshes.

Photoshop uses Globe-space normal maps, which offer the fastest processing.

Environment

Stores the image of the environs surrounding the 3D model. Environment maps are applied equally spherical panoramas. The contents of the environment map tin can be seen in the cogitating areas of the model.

To preclude an surroundings map from reflecting on a given material, modify Reflectivity to 0%, add together a reflectivity map that masks the material expanse, or remove the surround map for that material.

Reflection

Increases the reflection of other objects in the 3D scene, and the environment map, on the material surface.

Illumination

Defines a color that doesn't rely on lighting to display. Creates the effect that the 3D object is lit from within.

Gloss

Defines the amount of low-cal from a source that reflects off the surface and back to the viewer. You can arrange glossiness past entering a value in the field or using the scrubby slider. If you create a separate glossiness map, the intensity of colors in the map controls glossiness in the material. Black areas create full glossiness, white areas remove all glossiness, and middle values reduce the size of a highlight.

Shine

Defines the dispersion of the reflected light generated by the Gloss setting. Low shininess (loftier dispersion) produces more than apparent light, with less focus. High shininess (low dispersion) produces less apparent calorie-free and brighter, crisper highlights.

If a 3D object has more than the nine texture types Photoshop supports, boosted textures announced in the Layers console and the 3D Paint Manner list. (To brandish the latter, cull 3D > 3D Paint Mode, or use the Paint On bill of fare in the Scene section of the 3D console

Specular

The colour displayed for specular properties (for instance, highlight glossiness and shininess).

Ambient

Sets the color for ambient low-cal visible on reflective surfaces. This color interacts with the Global Ambience Colour for the entire scene. See 3D Scene settings.

Refraction

Sets the refractive index when scene Quality is set to Ray Traced and the Refractions option is selected in the 3D > Render Settings dialog box. Refraction is the change in lite direction that occurs at the intersection of ii media (such equally air and water) with dissimilar refractive indexes. The default value for new materials is 1.0 (the approximate value for air).

Sample and utilize materials straight on objects

The 3D Material Drop tool works much like the traditional Paint Saucepan tool, letting you sample and utilise materials directly on 3D objects.

In 3D panel, select the 3D Fabric Drop tool.

Move the pointer over the 3D object in the document window. When the material you want to sample is outlined, Alt-click (Windows) or Choice-click (Mac OS).

Move the pointer to outline the material you want to change, and click.

Select materials straight on objects

In 3D console, hold downward the 3D Material Drop tool, and select the 3D Select Material tool.

Motion the arrow over the 3D object in the document window. When the material yous want to select is outlined, click.

Apply, salve, or load fabric presets

Material presets let you quickly apply groups of texture settings. The default presets provide various materials like steel, fabric, and wood.

Photoshop apply save or load material presets — Click the cloth preview to display the preset pop-up console.

In the 3D panel, click the fabric preview.

In the preset pop-up panel, do any of the following:

To apply a preset, double-click a thumbnail preview.
To create a preset from the current texture settings, click the pop-upwards menu icon, and choose New Material.
To rename or delete selected presets, click the pop-upwardly menu icon, and choose Rename or Delete Material.
To relieve the electric current grouping of presets, click the pop-up menu icon, and cull Save Materials.
To change the displayed group, click the pop-up bill of fare icon. Then cull Reset Materials to restore a saved group, Load Materials to append a saved group, or Supervene upon Materials.

Create a texture map

Click the binder icon next to the texture map type.

Enter the name, dimensions, resolution, and color manner for the new map, then click OK.

To match the aspect ratio of an existing texture map, view its dimensions by hovering the mouse pointer over the map name in the Layers panel.

The name of the new texture map is displayed next to the texture map type in the Materials panel. It is also added to the texture list under the 3D layer in the Layers panel. The default name is the texture map type appended to the material proper noun.

Load a texture map

You can load an existing 2D texture file for any of the nine available texture map types.

Click the folder icon next to the texture type.

Cull Load Texture, then select and open the 2D texture file.

Create a bump texture map

A bump texture map filled with a neutral grayscale value provides more range when painting on the map.

In the Tools console, click the Gear up Groundwork Colour swatch.

In the Color Picker, set brightness to 50%, and fix R, One thousand, and B values to equal values. Click OK.

In the 3D panel, click the binder icon side by side to Bump.

Choose the following settings in the New dialog box:

For Color Mode, choose Grayscale
For Background Contents, cull Background Color.
(Optional) Set up Width and Height to friction match the dimensions of the lengthened texture map for the fabric.

The crash-land texture map is created and added to the texture map files listed in the Materials panel. Information technology too appears equally a texture in the Layers console.

Open up a texture map for editing

Click the image icon , and choose Open Texture.

The texture map opens every bit a Smart Object in its ain document window. Subsequently editing the texture, brand the 3D model certificate window active to see updates to the model. Run across 3D texture editing.

Delete a texture map

Click the epitome icon adjacent to the texture type.

If the deleted texture is an external file, you can reload it using the Load Texture command from the texture map carte du jour. For textures that are internally referenced by the 3D file, choose Undo or Step Backward to restore a deleted texture.

Edit texture properties

A texture map is applied to a item expanse of the model, depending on its UV mapping parameters. You lot can suit UV scale and outset if necessary to amend how the texture maps to the model.

Click the epitome icon next to the texture type.

Choose a target layer and set UV Scale and First values. You can enter values directly or use the scrubby sliders.

Target

Determines whether settings utilise to a specific layer or the composite prototype.

U and V Calibration

Resize mapped textures. To create a repeating pattern, decrease the value.

U and Five Offset

Reposition mapped textures.

3D Lights settings

3D lights illuminate models from different angles, calculation realistic depth and shadows.

Add or delete individual lights

In the 3D panel, do either of the post-obit:

To add together a light, click the Create A New Light push, and choose the light blazon:
- Indicate lights shine in all directions, like low-cal bulbs.
- Spot lights shine in a cone shape, which you tin conform.
- Infinite lights shine from one directional plane, like sunlight.
- Image-based lights map an illuminated image effectually the 3D scene.
To delete a light, select information technology from the list at the top of the Lights section. Then click the Delete push button at the bottom of the panel.

Adjust low-cal properties

In the Lights section of the 3D panel, select a light from the list.

In the lower one-half of the panel, ready the following options:

Preset

applies a saved group of lights and settings. (Run across Save, supercede, or add groups of lights.)

Light Type

Choose from the options described in Add or delete individual lights.

Intensity

Adjusts brightness.

Color

Defines the color of the light. Click the box to access the Colour Picker.

Prototype

For image-based lights, specifies a bitmap or 3D file. (For dramatic effects, try 32-bit HDR images.)

Create Shadows

Casts shadows from foreground surfaces onto groundwork surfaces, from a single mesh onto itself or from ane mesh onto another. Disabling this option improves performance slightly.

Softness

Blurs the edge of shadows, producing a gradual falloff.

For point or spot lights, gear up these additional options:

Hotspot

(Spot lights only) Sets the width of the bright middle of the light.

Falloff

(Spot lights but) Sets the outer width of the light.

Utilize Attenuation

Inner and Outer options make up one's mind the cone of attenuation and how fast light intensity decreases as distance from objects increases. When an object is closer than Inner limit, low-cal is full strength. When an object is further than Outer limit, light is at zero strength. At intermediate distances, calorie-free attenuates linearly from full strength to zero.

Hover the arrow over the Hotspot, Falloff, and Inner and Outer attenuation options. Red outlines in the icon to the right indicate the affected calorie-free chemical element.

Position lights

In the Lights section of the 3D console, select whatever of the post-obit:

Rotate tool

(Spot, space, and image-based lights) Rotates lite while maintaining its position in 3D space.

To rapidly aim a light at a specific area, Alt-click (Windows) or Selection-click (Mac OS) in the document window.

Pan tool

(Spot and point lights only) Moves the light to a different position in the aforementioned 3D plane.

Slide tool

(Spot and betoken lights only) Moves the low-cal to a dissimilar 3D plane.

Betoken Light at Origin

(Spot light only) Directs light at the center of the model.

Movement to Current View

Places light in the same position every bit the photographic camera.

To precisely position image-based lights, use the 3D Axis, which wraps the paradigm around a sphere. (See 3D Centrality.)

Add light guides

Low-cal guides provide spatial reference points for your adjustments. These guides reflect the blazon, angle, and attenuation of each light. Point lights appear as a ball, spot lights equally a cone, and space lights as a line.

At the bottom of the 3D panel, click the Toggle icon, and select 3D Light.

You can alter the guide color in the 3D section of the Preferences dialog box.

Photoshop Different light guides — Calorie-free Guides:

A. Betoken lightB. Spot calorie-freeC. Infinite light

Salve, replace, or add groups of lights

To shop groups of lights for later use, salvage them equally a preset. To include the preset in other projects, either add to or replace the existing lights.

From the 3D console carte, select any of the following:

Save Lights Preset

Saves the current group of lights equally a preset that you tin reload with the following commands.

Add Lights

To the existing lights, adds a lights preset that you select.

Replace Lights

Replaces the existing lights with a preset that you select.

Source: https://helpx.adobe.com/in/photoshop/using/more-3d-panel-settings.html

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