Deep Paint 3D™ Copyright © 1998-1999 Right Hemisphere Limited. ALL RIGHTS RESERVED. BY INSTALLING OR USING THIS SOFTWARE PRODUCT, YOU AGREE TO BE BOUND BY THE CONDITIONS OF THIS LICENSE AGREEMENT. The Deep Paint 3D™ software product is protected by copyright laws and international copyright treaties, as well as other intellectual property laws and treaties. The software product is licensed not sold. The software application and this reference manual are licensed “as is” and without warranties as to performance or merchantability. The software application is licensed without express or implied warranties whatsoever. Because of the diversity of conditions and hardware under which this program may be used, no warranty of fitness for a particular purpose is offered. The user is advised to test the application thoroughly before relying on it. The user must assume the entire risk of using the program. Any liability of seller or manufacturer will be limited exclusively to the product replacement or refund of the purchase price. Information contained within this publication is subject to change without notice. Trademarks and Products Deep Paint 3D™ is a trademark of Right Hemisphere Ltd. Microsoft, MS, Windows, Windows 95, Window 98, Windows NT are registered trademarks of Microsoft Corporation. Photoshop is a registered trademark of Adobe Systems Incorporated. Wacom and Intuos are trademarks of Wacom Co. Ltd. All brand names or trademarks belong to their respective holders. The software application and reference manual that comprise Deep Paint 3D™ are the confidential property of Right Hemisphere Ltd. and cannot be reproduced in any form, for any purpose without the written permission of Right Hemisphere Limited. LICENSED FOR USE ON A SINGLE COMPUTER AND IS NOT TRANSFERABLE
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Welcome Welcome to Deep Paint 3D! What the product and tutorials are all about Introduction Overview Terms System requirements Installing Deep Paint 3D Documentation Important! Important! Where do I start?
12 12
Getting Started Guide Overview
13 13 15 16 17
Getting Started with Photoshop Overview - Working with Photoshop Procedures Reference Important!
20 20 20 21 21 21 21
Getting started with 3d Studio Max Basic Steps Assigning Materials Importing Previously Assigned Materials Locating A Bitmap Timeline Exporting To 3D Studio Max
25 25 26
Getting Started With Maya Installation Basic Steps
27 27 27
Getting Started with SoftImage Overview Basic Steps
CONTENTS
CONTENTS
CONTENTS
28 28 28
Getting Started with Lightwave Overview Basic Steps
29 29 30
Getting Started with Lighting and Paint Depth Overview Procedures
38 38 39
Getting Started with Cloning Overview Procedures
53 53 54
Getting Started with Texture Paint Overview Procedures
59 59 60
Getting Started with the Airbrush Overview Procedures
62 62 63
Getting Started with Presets Overview Procedures
64 64 64
Getting Started with Brushes Overview Procedures
68 68 69
Getting Started with Photoshop Plug-ins Overview Procedures
70 70 71 72 77
Chapter One: The Interface Overview The Menus Palettes Command Panel
81 81 81
Chapter Two: Menus Overview File Menu
Edit Menu Selection Menu Filter Menu View Menu Windows Menu Help Menu
95 95 95 106 108 109 110 111 112 114 123 128 129
Chapter Three: Palettes Overview Tool Palette Color Palette Color Swatches Options Palette Material Import Palette Command Panel Presets Tab Brushes & Paints Tab Elements Tab Lighting Tab Scene Sub-Tab
131 131 132 133
Chapter Four: Presets Overview Procedures Reference
134 134 135
Chapter Five: Artistic Cloning Overview Reference
136 136 137
Chapter Six: Texture Paint Overview Reference
141 141 141 142
Chapter Seven: Tablets Overview Reference Wacom Features
145 145
Chapter Eight: Context Menus Overview
CONTENTS
87 89 90 92 93 94
CONTENTS
145 147 150 153 155 156 156 156 156 156 156 157 157 157 157 157 157 158 158 158 158 158
Workspace Canvas Object Layer Name Layer Workspace Keyboard Shortcuts File Menu Edit Menu Selection Menu Selection Tools Presets Palette While Painting Zoom Tool Tools Color Palette The Color Swatch Gestures Channel Selection Palettes Rotate Tool Pan Tool LineTool
159 Appendix B: Working with Photoshop 159 Overview - Working with Photoshop in 2½D mode 160 Procedures 161 Reference 162 Important! 164 Overview - 3D mode or Using Photoshop to edit Materials 164 Procedures 164 Reference 165 165 165 166 166 167 167
Appendix C: Working with 3d Studio Max Basic Steps Assigning Materials Importing Materials Locating A Bitmap Timeline Exporting To 3D Studio Max
Appendix D: Maya Installation Basic Steps
174 174 174
Appendix E: SoftImage Overview Basic Steps
175 175 175
Appendix F: Lightwave Overview Basic Steps
176 176 176
Appendix G: Photoshop Plug-ins Overview Procedures
177 177
Appendix H: Frequently Asked Questions Overview
CONTENTS
171 171 173
WELCOME
WELCOME Welcome to Deep Paint 3D! Welcome to Deep Paint 3D, the simple and powerful way to bring your 3D work to life. You have all the traditional artists’ tools, some special new tools, and the ability to create and save your own. This manual contains all the information you need to make the most of Deep Paint 3D. We recommend that you learn the program through the Getting Started Guide at the beginning of this manual, followed by the Tutorials. Then use this manual and the On-line Help to answer any specific questions you might have along the way.
What the product and tutorials are all about The aim of Deep Paint 3D is to provide a natural and powerful environment for painting 3D models, and to complement Photoshop with an artistic set of painting tools. Our aim is to provide a simple, intuitive and painless process to create stunning art. We have provided the Getting Started Guide and Tutorials, to bring you up to speed as quickly as possible.
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Overview This introduction contains all the information you need to start learning and using Deep Paint 3D.
Note: The interface shown may differ slightly from the version you have, but it is the most recent version at the time of writing.
INTRODUCTION
INTRODUCTION
Terms Menu > Sub-menu Menu and Sub-menu choices are separated by the ‘greater than’ sign, as in the example, View > Palettes. Commands/Tools All commands and tools are displayed in bold typeface.
Tutorial Instructions All direct instructions are shown in large blue italics.
System requirements Deep Paint 3D requires: · · · · · ·
Microsoft Windows 95, Windows 98 or Windows NT 4.0 or later. A minimum resolution of 800x600 pixels. A graphics card capable of displaying 16-bit color. 64MB of RAM or better. Pentium 200MMX processor or better. A CD-ROM drive for installation.
We strongly recommend: · · · · ·
A Wacom Intuos or similar pressure sensitive tablet. A graphics card capable of displaying 24-bit color. Pentium II 266 processor or better. 128MB of RAM or better. Windows 98 or NT 4.0 Service Pack 3 or later.
Deep Paint 3D is a true real-time material based 3D paint rendering system, and the first of its kind to be able to run on the PC platform. This has been made possible by the most recent advances in CPU technology. 9
Installing Deep Paint 3D INSTALLATION
To install the Deep Paint 3D program and plug-in from CD-ROM: · · ·
Insert the Deep Paint 3D CD-ROM. Use the File Manager or Explorer to open the CD-ROM and double click on ‘setup.exe’. Follow the instructions as they appear.
Documentation Deep Paint 3D comes with the following documentation: ·
Deep Paint 3D Manual - the complete guide and reference to using Deep Paint 3D. The Manual is available in both printed and Adobe Acrobat PDF format. A shortcut to the Manual is created during installation. The Acrobat Reader program can be installed from the Deep Paint 3D CD-ROM. Alternately, the latest version can be obtained from Adobe’s Web Site at: http://www.adobe.com/prodindex/acrobat/main.html
·
· ·
Deep Paint 3D On-line Tutorials. The On-line Tutorials are also available in both printed and Adobe PDF format. A shortcut to the Tutorials is created during installation. Online Help System - pressing the F1 key from within Deep Paint 3D gives you access to the context sensitive help system. FAQs - the most ‘Frequently Asked Questions’. The current version at the time of writing is included in the back of this guide. As this list is being constantly updated, the latest FAQs may be obtained from Right Hemisphere at: http://www.righthemisphere.com Please remember to check this list before you contact support.
Important! Deep Paint 3D has three distinct modes: · ·
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·
2D - this mode is used to show you a 3D bitmap ‘unwrapped’ from the object. 2½D - this mode is an enhanced 2D mode, where you work as if on a traditional canvas, with the ability to use bump and shininess, and to have the paint interact. The differance will be clear when you have completed this guide. For now, just note that there is a distinct advantage to using 2½D, over traditional 2D modes. 3D - this mode is active whenever you have a 3D model loaded.
Important!
Where do I start? To begin using Deep Paint 3D now, we suggest you read the section in this manual entitled ‘Getting Started Guide’, then ‘The Interface’ , and lastly start the On-line Tutorials. This approach will you show every major feature of Deep Paint 3D quickly and painlessly. At the beginning of each tutorial is the estimated time to complete the lesson and an explanation of exactly what you will learn. If you are new to Deep Paint 3D, the tutorials should be completed in the order they are presented.
INSTALLATION
At the time of writing, changing your windows font size from the default ‘Small’ setting may result in display problems. Please ensure that your machine is not using the ‘Large’ or custom font settings.
All users will find Appendix A: Shortcuts useful. It contains a complete list of all the Hot Keys or keyboard shortcuts. Chapter 8: Context Menus will also prove useful. This manual is intended both as a quick start and technical reference to Deep Paint 3D. You will find the answer to most questions you may have about using Deep Paint 3D here. The sections are set out as simply as possible. Use the chapter contents or index to find the entry you require, or use the online help. The On-line Help is context sensitive, and is a great way to automatically narrow your search.
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GETTING STARTED
GETTING ST AR TED GUIDE STAR ARTED Overview This section will allow you to quickly begin using Deep Paint 3D, by introducing some of the essential features. This section assumes a sound understanding of Windows and Photoshop. For detailed explanations please refer to the relevant sections of the manual and tutorials, or make use of the online help. Although Deep Paint 3D may be used as a stand-alone program, in 2½D mode, Deep Paint 3D complements Photoshop by adding artistic tools to Photoshop’s powerful editing capabilities. In 3D mode, Deep Paint 3D can still take advantage of the great features in Photoshop, but it also offers exciting and powerful ways of working directly with your 3D application.
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Overview - Working with Photoshop Deep Paint 3D includes a companion plug-in for Photoshop. Although Deep Paint 3D may be used as a stand-alone program, it is designed to complement Photoshop by adding artistic tools to Photoshop’s powerful editing and image processing capabilities.
GETTING STARTED
GETTING ST AR TED WITH STAR ARTED PHO T OSHOP PHOT
Deep Paint 3D is complementary to Photoshop in the following ways: · · · · · ·
3D Materials can be passed to and from Photoshop in 3D mode. It uses the same hot keys as Photoshop wherever possible. It allows uninterrupted workflow between Photoshop and Deep Paint 3D. It uses the same layer concepts. There is no need to learn different layering systems. It supports Photoshop .ACO color swatches. It supports both RGB and CMYK images.
Photoshop’s Plug-ins have their own chapter, but for a complete guide to an individual plug-in, please refer to the documentation that came with it.
Note: It may be possible to use the Deep Paint 3D plug-in with other software that supports Photoshop plug-ins, but they have not been officially tested at this time. Please visit the Deep Paint 3D web site at: http://www.righthemisphere.com
for the latest updates regarding this issue.
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The Plug-in Manager: 2½D mode
GETTING STARTED 14
The Plug-in Manager sits between Photoshop and Deep Paint 3D, and this Plug-in Manager must be open for your 2½D images to move between the two programs. You can set the Plug-in Manager to either Send Mode or Receive Mode images by using the large mode buttons near the center.
Procedures
Start Photoshop. Open an image, or create a blank canvas. Select Filter > Right Hemisphere > Image to Deep Paint 3D Select the small ‘Send’ button in the lower right corner. The currently active layer will appear in Deep Paint 3D. Develop your image using any of the many tools available.
GETTING STARTED
Basic Operation - 2½D mode
Select File > Export > Photoshop or click the button in Deep Paint 3D. The image appears in the plug-in manager, ready for your approval. Select ‘Okay’ in the plug-in manager. Image appears in Photoshop, complete with your changes. This simple procedure allows work to be continually passed between Photoshop and Deep Paint 3D.
Basic Operation - 3D mode Start Photoshop. Open a 3D object in Deep Paint 3D. Select a material from the Material Sub-Tab in the Elements Tab. Select File > Export > Material to Photoshop or click the button in Deep Paint 3D. Edit your material in Photoshop. Select Filter > Right Hemisphere > Material to Deep Paint 3D Material appears in Deep Paint 3D, complete with your changes. This simple procedure allows work to be continually passed between Photoshop and Deep Paint 3D.
Note: Deep Paint 3D will only send the current material from an object with multiple materials. Also, if you cannot see any Palettes in Photoshop, simply press the TAB key twice. Do not change the order or names of the layers in Photoshop, as Deep Paint 3D needs these to function correctly.
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Reference GETTING STARTED
Send Mode - 2½D mode This mode is used to send your images from Photoshop to Deep Paint 3D. Send - Clicking on the smaller ‘Send’ button, in the lower right corner of the plug-in manager, sends the image to Deep Paint 3D ready to edit. Cancel - Clicking on the ‘Cancel’ button cancels the operation, and closes the plug-in manager.
Receive Mode - 2½D mode This mode allows you to bring images back into Photoshop from Deep Paint 3D. Preview - This window will show a preview of the image, to help you decide which of the following buttons to select. Fetch - Use this option to ‘force’ Photoshop to replace the current image in the plug-in manager with the current image in Deep Paint 3D 3D. The preview will update. Functionally similar to sending the image from Deep Paint 3D using File > Export > Photoshop. Okay - Accepts the image currently ‘fetched’ and displayed in the preview window, and places it into Photoshop, ready for editing. It will also close the plug-in manager. Cancel - Rejects the image currently ‘fetched’ and closes the plug-in manager.
Materials - 3D mode Deep Paint 3D will only send the current material from an object with multiple materials. Do not change the order or names of the layers in Photoshop, as Deep Paint 3D needs these to function correctly. Also, don’t add new layers, as they will be ignored. If you cannot see any Palettes in Photoshop, simply press the TAB key twice. The Layers will appear in Photoshop in the order they appeared in Deep Paint 3D. Transparency will br preserved.
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Important!
When working with large images there are a couple of issues that need to be considered. One of the truly unique aspects of Deep Paint 3D is that unlike traditional digital paint systems, the paint is treated as a material application process rather than a coloring process.
GETTING STARTED
Working with Large Images in Deep Paint 3D
Deep Paint 3D calculates, processes and renders in 3D with every stroke, all the true material characteristics of paint, such as viscosity, thickness and shininess, as well as color. For this reason Deep Paint 3D requires the greater processing power of today’s PC in order for it to really perform at its best. Deep Paint 3D is painting three times the data of a traditional system and, as a consequence, uses three times the RAM and needs a lot more processing power than traditional paint systems. Working with large images in Deep Paint 3D therefore requires an appropriate amount of processing power and RAM. The following are the recommended RAM requirements to work effectively with larger images within Deep Paint 3D: Image Size (pixels) 1500 x 1500 2000 x 2000 3000 x 3000 4200 x 4200 6000 x 6000
Recommended RAM 64MB 128MB 256MB 512MB 1GB
Note: These figures are for stand-alone operation of Deep Paint 3D. When operating in conjunction with Photoshop, take 25% off each pixel value. However, due to the inherently random and somewhat arbitrary nature of natural paint, it is possible to work at pixel resolutions 2-3 times lower than the final output resolution required. The image can be scaled up later to a higher dpi without noticeable loss of quality. For example: A 1000x1000 image can acceptably be re-scaled to 2000x2000 for final production use. This therefore reduces the amount of RAM required for the system. 17
GETTING STARTED
Remember pixels = dots. So a 10" x 10" image at 150 dpi = 1500 x 1500 pixels. At 300 DPI it is 3000 X 3000. We recommend re-scaling in Photoshop using the Image > Resize for best results. Please note that this is not recommended with text or scanned images. Deep Paint 3D will quite suddenly slow down when you run out of RAM. When used as a plug-in, Photoshop takes a large amount of RAM for its own use, and this RAM is not released when running Deep Paint 3D through the Plug-in Manager. A suggested solution if you require additional RAM in order to run Deep Paint 3D , is to flatten and save the Photoshop image you wish to manipulate, close Photoshop and then open the image in Deep Paint 3D. With Deep Paint 3D running in a stand-alone mode you will then have additional RAM at your disposal. When Deep Paint 3D is used as a stand-alone program, it is able to import most common file formats. It can also save many formats including:
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AFX ASCII ATT AVI BMP BRK CALS CCITT Group CCITT Group III CCITT Group IV CLP CUT DCX DDB DIB EPS EXIF GX2 ICO IFF/ILBM IGF IMARA IMG-GEM IMG-Xerox IMT IOCA JFIF JPEG KFX
GETTING STARTED
Lossless JPEG LV MAC MO:DCA MSP NCR OS/2 BMP PBM PCD PCX PGM PICT PNG PPM Progressive JPEG PSD SGI SUN TGA TIFF Winfax WMF WPG XBM XPM XWD
Note: The proprietary .dp2 and .dp3 formats will create a sub-directory, and store each channel in this directory. This is the format we recommend you use for your 2D and 3D projects respectively. To save a file type that is listed here, but is not visible in the pull-down list in the Save dialog, simply type the extension, and Deep Paint 3D will automatically save your file in the correct format. For a comprehensive list of the available formats, please refer to the Open command in Chapter 2: Menus or visit Right Hemisphere at: http://www.righthemisphere.com
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GETTING STARTED
GETTING ST AR TED WITH 3D STAR ARTED STUDIO MAX The links between Deep Paint 3D and 3D Studio MAX are designed to be as seamless as possible. It is very easy to import an object for painting, and just as easy to send the changes back to MAX. However, the depth of detail provided by the Materials Editor in 3D Studio MAX is such that once you are familiar with the basic steps involved in importing an object for painting you can start to apply more complex Materials for import.
Basic Steps To import an object for painting at its most basic level you can follow these steps: Create the object in 3D Studio MAX Apply a Material and mapping coordinates. Select the ‘Utilities’ control panel in MAX. Select the ‘More’ button. From the list of utilities select ‘Deep Paint 3D’. Select the object or objects you wish to paint. Press ‘Paint’.
Note: It is possible to add Deep Paint 3D to the permanent list of utilities. Refer to the documentation that shipped with MAX for more details. After you have applied your mapping and Materials to your objects, select the objects you wish to paint, and launch Deep Paint 3D as described above. Deep Paint 3D will start, and after a brief pause, the Material Import dialog will appear. Click ‘OK’.
Assigning Materials You will have to assign a Material to any object you want to paint. In some cases you may want an object in the scene that is not paintable, and this is is the only time you will deliberately bring an object into Deep Paint 3D without a Material applied. The object will still import, but it you will not be able to paint on it. You can import any type of Material that isn’t Procedural. For example a Material with multiple sub objects can be imported as long as those sub objects contain either bitmaps or standard diffuse color. Don’t forget, if you haven’t assigned a Material to the sub object, it will not be paintable! 20
Importing Previously Assigned Materials Deep Paint 3D requires that all the bitmaps that are assigned to a Material are the same size. If you try to import a Material that has bitmaps of different sizes assigned to it, Deep Paint 3D will automatically resize the images for you. The first channel loaded determines the size of any remaining maps. As the first channel is usually the Color channel, any Bump, Glow, Shininess or Opacity maps are usually resized to the size of the Color map.
GETTING STARTED
Caution: If two or more objects or sub objects have the same material/ bitmap applied in MAX, and you export them to Deep Paint 3D, everything you paint on one object or sub object will appear on the other!
Deep Paint 3D will not warn you before making any changes to a map size.
Locating A Bitmap If Deep Paint 3D cannot find a bitmap needed by a Material, Deep Paint 3D will let you find it manually. You can then locate the image or another image to be used in it’s place. If you are importing a .3ds file and Deep Paint 3D cannot find the bitmaps in the Materials in that file, you will also be prompted to locate the file. If you choose to find the bitmap Deep Paint 3D will offer you the chance to add the directory that bitmap is in to your Map Paths so that you don’t have to look for it again.
Timeline Deep Paint 3D has been designed to take advantage of the animation facilities available in 3D Studio MAX. When you import an object from MAX Deep Paint 3D receives the geometry as it is at that point in time. For example, if a sphere has had a ‘Bomb’ spacewarp applied to it in MAX and you import it for painting half way through the explosion, the geometry that appears in Deep Paint 3D will be exploded. Similarly if you have an animated Twist modifier applied to a cylinder you can import the cylinder for painting at any point in its twist and the geometry visible in Deep Paint 3D will be correct. To do this all you need to do is set the current frame in MAX to the frame at which you wish to import the geometry and then select the object to import and press the ‘Paint’ button to import in to Deep Paint 3D.
Exporting To 3D Studio MAX When you have finished editing an object that was imported from 3D Studio MAX you can send the changes you made back by selecting File > Export > 3ds Studio MAX, or you can send your material to Photoshop for further editing with File > Export > Material -> Photoshop. 21
GETTING STARTED
You may also use the
MAX Out button.
This is the dialogue that will appear:
Note: Deep Paint 3D will only send materials to MAX that have been selected for export in the Material section of the Elements Palette. Please refer to the Elements Palette in Chapter 3: Palettes for more information.
Method The Method group controls the way that Deep Paint 3D will save the bitmaps it generates. Overwrite Old Bitmaps - This option will replace the existing bitmaps. For all the Map Types you have in each Material, saves them to disk and automatically updates the Material in 3D Studio MAX to point to the new bitmaps. As this method can be potentially destructive, you should be careful as to when you apply it. Generate New Bitmaps - This method creates new bitmaps for all the Map Types you have in each Material, saves them to disk and automatically updates the Material in 3D Studio MAX to point to the new bitmaps. As this creates entirely new bitmaps, you will need to enter a new name in the Prefix text box. This can be useful if you are using bitmaps in a Material that you may want to use again and do not want to overwrite. See New Bitmap Names later in this chapter. Backup Existing File - With this enabled any existing files will receive a suffix of _bak, rather than being copied over. We recommend you use Generate New Bitmaps. Also see the following entry, Auto. The bitmaps that are created using the Generate methods are named by Deep Paint 3D to save time. If you wish to rename them manually, remember to adjust the Material in 3D Studio MAX so that it points to the correct bitmap. The first part of the name is the Material number.
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The next two letters define which Map Type the bitmap is for. These are as follows: cl: Color bm: Bump si: Self Illumination op: Opacity sh: Shininess
Auto Please leave this option enabled. With this option enabled, Deep Paint 3D will automatically replace any currently existing bitmaps, and generate new bitmaps if they do not already exist. The bitmaps will be saved into the same directory as any original bitmaps.
GETTING STARTED
If you want to add a prefix on to the name of the bitmap, to make it easier to locate, you can enter it in the Prefix edit box. If for example you enter ‘head’ in the Prefix box the color map will be saved under the name ‘headm1cl’.
Pref Choose a file format from the drop-down list. Any new maps generated will use the format chosen. Available options at this time are: .bmp .jpg .tif We recommend you use .tif at this point in time.
Note: If you are replacing existing files, this becomes largely irrelevant, except in the case of .tga files. MAX currently has problems loading and using .tga files. We strongly recommend changing the format of any .tga files to one of the supported file formats listed above.
New Bitmap Names If you want your map names to be meaningful to you, and easy to recognize, give some thought to the names you choose for your maps. Prefix - Type in the prefix you will use to uniquely identify your images, for example, ‘RedCar’. Try to make them short but meaningful.
Default Target Directory Here you set the Target Directory, the place your maps will be saved to. Clear - This clears the Target Directory. Browse - Lets you choose a directory from a file requestor. Try to create the directories you need before you start Deep Paint 3D.
Go! Click here to save your maps and pass them back to MAX. The Material Editor in MAX will update to reflect any changes you have made. 23 One of the more efficient ways of working is to have Deep Paint 3D and MAX
GETTING STARTED
open at the same time. They can be continually updating each other as you swap between the two. This is particularly useful if you are painting Opacity maps, as Deep Paint 3D cannot currently render them. Jumping between the two programs lets you render your progress in MAX.
Tip: Paint your Opacity map the easy way. Since you can’t see the effect of your Opacity map as you paint it, create a New Layer Above, and create a new color channel. Paint your Opacity map by using shades of grey, and drag the completed map from the Color Channel to the Opacity Channel in your original layer. Delete the layer you added. This method can be useful for painting other channels also. Tip: When you import your Opacity map to MAX, it will default to the transparent effect of glass, including specular highlights. This effect can be quickly improved by copying the bitmap in the Opacity slot to the Specularity slot in the Material Editor.
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Please note, the information in this section is written specifically for Maya 2.0.
Installation If you installed the optional Maya 2.0 plugin with your DeepPaint 3D installation, then proceed to Loading.
GETTING STARTED
GETTING ST AR TED WITH STAR ARTED MA YA AY
Manual Installing Ensure Maya is not running. Locate the [Insert Appropriate directory] from your DeepPaint 3D CD-ROM. Copy the “deeppaint3d.mll” file to your “Maya2.0\bin\plug-ins” directory Copythe “DeepPaint3D.mel” file to your “Maya2.0/scripts” directory.
Installing the Menu Launch Maya. From the “Window” Menu, select “General Editors”, and then “Plug-in Manager”. Click the “loaded” toggle, next to “deeppaint3d.mll”. Click the “auto load” toggle if you want the Deep Paint exporter to automatically load each time that Maya starts. A “Deep Paint 3D” menu item should now appear in your main Menu Bar. 25
GETTING STARTED
Basic Steps Load an object into Maya. Use the Selection tool.
Select by Components:
Sending Use the “Launch Deep Paint 3D” option, then use “Export Selection” to transfer your objects from Maya to Deep Paint 3D.
Retreiving When you have finished, use the Import Bitmaps or Save All Maps from DeepPaint 3D to return your Bitmaps to Maya.
IMPORTANT! DeepPaint 3D will only paint on polygonal models. If you have NURBS surfaces, use the “NURBS to Polygons” operator in the “Edit Surfaces” menu.
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Overview Deep Paint 3D will allow SoftImage users to easily edit the materials on their objects by loading the object directly into Deep Paint 3D. A SoftImage plug-in is currently under developement.
GETTING STARTED
GETTING ST AR TED WITH STAR ARTED SOFTIMAGE
Basic Steps Apply Material/Mapping in SoftImage. Start Deep Paint 3D. Use File > Open within Deep Paint to load your .obj file. Paint on your object. Use Save or Save As to update your bitmaps. Load your .obj back into SoftImage. You will need to manually assign any new maps created within Deep Paint 3D as appropriate within SoftImage. It’s that easy!
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GETTING STARTED
GETTING ST AR TED WITH STAR ARTED LIGHTW A VE Overview Deep Paint 3D will allow Lightwaveusers to easily edit the materials on their objects by loading the object directly into Deep Paint 3D for painting. The bitmaps can then be saved to the hard drive, and loaded and assigned in Lightwave in the usual manner.
Basic Steps Apply Material/Mapping in SoftImage. Start Deep Paint 3D. Use File > Open within Deep Paint to load your .lwo file. Paint on your object. Use Save or Save As to update your bitmaps. Load your .lwo back into Lightwave. You will need to manually assign any new maps created within Deep Paint 3D as appropriate within Lightwave. Happy rendering!
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Overview Deep Paint 3D simulates the depth (or height), shininess and interaction of real world paints in the following ways: · · · · · · ·
GETTING STARTED
GETTING ST AR TED WITH STAR ARTED LIGHTING AND PAINT DEPTH
Complete control over the thickness of the paint. Complete control over the shininess of the paint. Complete control over the amount of glow for 3D software that supports this feature. Complete control over the amount of opacity for 3D software that supports this feature. Shininess or thickness of paint can mix and interact with paint already on the canvas. Lighting can be adjusted at any time before passing the image to Photoshop. Paint can be dragged around the canvas.
For detailed explanations on lighting and painting please refer to the on-line manual and tutorials on the Deep Paint 3D CD-ROM, or make use of the online help.
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Procedures GETTING STARTED
Basic Lighting in 2½D Either create a blank canvas within Photoshop and send it to Deep Paint 3D, or start Deep Paint 3D, and press CTRL+N, clicking ‘Okay’ to accept the default canvas size. Select the Freehand Tool, or right click and select Freehand from the pop-up menu. Select the ‘Simple - Medium’ preset from the Presets Tab. Select the Lighting Tab, and set the lighting as shown.
You can reset your lighting to the default by clicking on the ‘Reset’ button in the Lighting Tab. Next, we’ll turn off Bump and Shininess. To turn a channel on or off use the channel indicators. For example, you can turn off the Color channel by clicking on the channel indicator, the small button with the ‘C’ in the middle, as shown below. It will ‘grey-out’ when inactive.
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You can also just reduce the level of Bump and Shininess by selecting the Bump and Shininess Swatches, which are the rectangles immediately to the right of the channel indicator. Simply change the greyscale value.
GETTING STARTED
The Bump and Shininess indicators are ‘B’ and ‘S’ respectively.
Note: For Bump, white is up and black is down. For Shininess, white is shiny and black is dull. With both Bump and Shininess turned off, paint a stroke.
This is the traditional ‘digital’ look, and has no depth or ‘real’ paint qualities. Select Lighting from the Lighting Tab. Change the lighting direction by selecting from the lighting buttons. You should notice no difference, regardless of the position of your light. Turn on Bump, and make sure it is set to white. Paint a stroke.
Notice how the paint now has a distinct shadow along the edge. Changing the Lighting from the Lighting Tab will help you see this, so change the lighting direction by selecting from the lighting buttons. Turn on Shininess, and make sure it is set to white. Paint a stroke.
This stroke has Color, Bump and Shininess, and really lifts itself off the canvas. If you read to the end of this section, you will see how the paint can also be dragged, gouged and built up or ground down. 31
GETTING STARTED
For now, select the Lighting Tab. Change the lighting direction by selecting from the lighting buttons. Set the ambient lighting level to 0, and the spotlight lighting level to 100. The bump in your stroke will be extremely exaggerated. Next, set the ambient lighting level to 100, and the spotlight lighting level to 0. The bump will disappear completely, showing a ‘flat’ look. Setting values in-between will allow you to either boost or minimize the level of bump and shine without having to repaint your image. Try to remember to experiment with these values and your lighting direction when you are working on your images, as you can change the lighting as often as you like prior to passing your image back to Photoshop.
Note: Select diagonally opposite lights for the most visible change and try extreme values of ambient and spot light settings. Note: When painting on a model in 3D mode, two more channels are available, Glow and Opacity. The Glow and Opacity channels allow you to paint Glow Maps and Opacity Maps respectively, if your 3D application supports these features. Refer to the documentation that came with your 3D application if you are unsure. Although the Deep Paint 3D real-time renderer cannot show opacity maps at this time, the manual and tutorials contain tips and hints on how to take advantage of this channel.
Painting with Bump, Shininess, Glow or Opacity only Deep Paint 3D can paint with any combination of Color, Bump, Shininess, Glow or Opacity. To paint with any one channel only, you simply turn the other channels off. Change the level as shown in the previous examples.
Text with Color, Bump, Shininess, Glow and Opacity Text created within Deep Paint 3D can have any combination of Color, Bump or Shininess. To paint with any one channel only, you simply turn the other channels off. You change the level as shown in the previous examples. Either create a blank canvas within Photoshop and send it to Deep Paint 3D, or start Deep Paint 3D, and press CTRL+N, clicking ‘Okay’ to accept the default canvas size.
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GETTING STARTED
Select the Text Tool. Turn off Bump and Shininess. Click anywhere on the canvas, and the following dialog will appear.
The default text is ‘sample’, so replace it with the word ‘Text’. Click ‘Okay’.
The text will be placed near the point you clicked, but you are now automatically in Floater Mode. You can move your text by clicking and dragging until you are satisfied with its position. Select any tool, including the Text Tool, to set the placement of the text. Turn on the Bump and turn off the Color and Shininess channels. Use the Text Tool to place the word ‘Text’ on the canvas below the first example.
Now turn on the Color, Bump and Shininess channels, and use the Text Tool to place the word ‘Text’ on the canvas, below the first two examples.
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Basic Lighting in 3D
GETTING STARTED
Two differences between using 2½D and 3D modes, is the extra sub-tab shown below, and the two extra channels, Glow and Opacity, explained later.
This sub-tab allows you to set the image, if any, behind your 3D model, and the way that Deep Paint 3D displays your model while you work. Load the Head_sml.3ds file. The Material Import dialog will appear.
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Consult the documentation that came with your 3D application if you are unsure how to achieve this. Click ‘OK’ Select the Lighting Tab. Select the Render Sub-Tab. Click on the ‘Browse’ button. Select the ‘clayer1.jpg’ from the Head folder. The image will appear behind your object. Click on the ‘Clear’ button. The background will clear back to the default.
GETTING STARTED
The Material Import dialog is discussed in detail in Chapter 3: Palettes. The most important thing to remember when importing your own models, is that you must have applied UV mapping to your model in your 3D application, prior to importing to Deep Paint 3D.
Under Render Levels, the Moving section allows you to set the way Deep Paint 3D displays your object when you are moving or rotating it. If your display has trouble keeping up, try removing the check marks, one at a time, until you get a satisfactory response. Load the Head_sml.3ds file. Click ‘OK’ from the Material Import dialog. Select the Lighting Tab. Select the Render Sub-Tab. Remove all the check marks under the Moving section of Render Levels. Select the Pan Tool. Hold down the space bar and move the mouse or stylus to move your object. Double click anywhere in the active window. Place checks in Color and Bump. Hold down the space bar and move the mouse or stylus to move your object. Double click anywhere in the active window. The Still section is identical to the Moving section in function, but applies to the display when the object is not being moved. If your display has trouble keeping up with your painting, you may try unchecking options as a last resort. Painting in the 3D mode is almost identical to painting in the 2½D mode. Load the Head_sml.3ds file. Click ‘OK’ from the Material Import dialog. Freehand Tool. Select the Select the ‘Oil - Simple - Bump’ preset. Select a bright purple in the color picker. Paint a stroke. Hold the ‘R’ key and click and drag the mouse or stylus to rotate the head.
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GETTING STARTED
Continue experimenting with rotation and painting in 3D until you are comfortable with the process.
Paint Interaction Start a blank canvas in 2½D. Select the Freehand Tool. Select the ‘Oil - Simple - Bump’ preset. Select a bright red in the color picker. Ensure that your Bump and Shine are set to white. Paint a ‘blob’ of color. Repeat with Purple, Blue, Green and Yellow, overlapping the ‘blobs’, allowing them to smear into each other slightly. Note how they blend together. Mixing can be controlled in the Brushes and Paint Tab under Paint Settings. Now select the ‘Smudge’ preset. Drag paint about, as if you were finger painting. The paint will smear and smudge, as you would expect. Try short, rapid, curved strokes for the effects seen in the sample image. Try clicking and dragging from the canvas through the paint to “gouge” valleys through the paint. Try using the ‘Chisel’ preset to “carve” through the image.
Select the Lighting Tab. Change the lighting direction by selecting from the lighting buttons. Set the ambient lighting level to 0, and the spotlight lighting level to 100. As before, the bump in your stroke will be extremely exaggerated. 36 Set the ambient lighting level to 100, and the spotlight lighting level to 0. The bump will disappear completely, giving a vibrant but flat look.
Techniques: Deep Paint 3D is able to replicate the depth of several traditional painting techniques including impasto, aquapasto effects, and scraffitto. Thickly textured paint can be applied to the canvas, and then scratched or moved around, revealing the canvas or any underlying layers. The textured paint can even be glazed, changing its color and shine without changing its depth or bump characteristics.
GETTING STARTED
Try to remember to experiment with these values and your lighting direction when you are working on your images, as you can change the lighting as often as you like prior to passing your image back to Photoshop.
Important Wherever you see this small grey arrow you can access special submenus. These arrows are found throughout Deep Paint 3D, so don’t hesitate to click on them, as they contain a wealth of power and control. For example, the Feather and Canvas item in the Brush & Paint Settings Tab also gives access to the Jitter and Stroke Behavior options. Wherever you see this double ended arrow or ‘spinner’ value by clicking and dragging up/down.
you can select a
Also, try right clicking on the canvas or interface for pop-up context menus. For example, right clicking anywhere on the canvas brings up the following menu:
These menus are covered in detail in Chapter Eight: Context Menus in the Deep Paint 3D on-line manual.
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GETTING STARTED
GETTING ST AR TED WITH STAR ARTED CLONING Overview Functionally similar to the Rubber Stamp Tool in Photoshop, artistic cloning offers the fastest way to create new and exciting content. By using artistic cloning techniques, existing photographic or other images can be transformed to create new and interesting media content with a whole new look. Photos can be quickly changed into rich oil paintings or delicate charcoals. They can range from close to photorealistic to extremely abstract. Almost any image, of any quality, can produce interesting and unique results. In fact, you may want to try experimenting with low quality source images. Using a combination of tracing and cloning, you can bring some of the original image back into the final result. Deep Paint 3D offers the following features and benefits: ·
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Using the familiar Photoshop layer concepts, you can change the transparency of any layer to trace or clone from layers below, creating new art from existing images or photos. Layers may be ‘dragged’ up or down to new positions. Deep Paint 3D offers more control over this process than any other method available to Photoshop users. Unlike ‘artistic’ filters that process the entire image, Deep Paint 3D allows you to determine the location, direction, depth, shininess, opacity, and size of every brush stroke. From pencil and charcoal to impressionist effects, Deep Paint 3D allows artists to create more art in less time, and to mix media freely as they work. The artistic cloning process is fast and efficient, and is particularly useful when you need an image in a hurry, but can not compromise on quality. Depth can be easily and quickly added to otherwise flat images.
The artistic cloning method offers much more than merely copying an existing image. For detailed explanations on artistic cloning please refer to the on-line manual and tutorials on the Deep Paint 3D CD-ROM, or make use of the on-line help.
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Procedures
Artistic Cloning - Hue The default cloning method is Hue.
GETTING STARTED
The following procedure is a quick introduction to the process of artistic cloning. Please complete the steps in the order shown, to ensure your screen matches the illustrations. Examples are given for cloning using Hue, Luminance and Rub Through.
Start Photoshop Open ‘Building.jpg’ from the tutorial folder. Select Filter > Right Hemisphere > Image to Deep Paint 3D Deep Paint 3D will start if it is not already running. Select ‘Send’
Note: This is the Deep Paint 3D Photoshop plug-in manager, the gateway between Photoshop and Deep Paint 3D.
In Deep Paint 3D, select the Elements Tab. To bring up the Layers Menu, click on the small grey arrow to the right of the Transparency Slider and select Add Layer Above.
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GETTING STARTED
Re-select the bottom (original) layer by clicking on it. Select Set Clone Source using the Layers Menu. Change the opacity of the source to approximately 15% by moving the opacity slider as shown.
Select Layer 2 by clicking on it. Clone Tool from the Tool Palette. Select the Select the Presets Tab. Select the Cloners Category.
Select the ‘Big Flat Oval Cloner’.
Note: You can tell which layer and tool you have currently selected by looking at the Status Toolbar, shown below. It shows the current Brush in the first box, and the current layer in the second.
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GETTING STARTED
It is important to get the brush large enough for broad cloning work. Change the Brush Settings to be as follows:
Paint some rough strokes to fill in the image with broad strokes. We will add more detail in the next few steps.
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GETTING STARTED You can change the brush size as you work, by holding down the CTRL key, and moving your mouse or stylus up and down. Moving the stylus left or right adjusts the brush strength. The SHIFT key combines with mouse or stylus movement to alter the squash and rotation of the brush. A preview will appear near your cursor.
Note: In 3D mode you can also dynamically resize your brush, but the preview will alter itself to the topography of the model!
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Reduce the brush size by changing the Brush Settings to be as follows:
GETTING STARTED
Pick out the edges in the foreground, and clone these areas to bring up the detail. Now change the Brush Settings again, by holding the CTRL key whilst moving the mouse up and down. Stop when the preview shows approximately 3 x 9. Pick out the finer details on the buildings, like the windows and railings for instance.
Note: If you have made changes to your brush that seem particularly useful, you can save them over the top of your old preset by clicking on the ‘Save’ button at the top of the Brushes and Paint Tab. This would replace your existing preset, so you might prefer to ‘Save As’, and give your preset a new name. Presets can be saved to a central server, so that others within your company or team can effectively control and share presets, ensuring consistency within a production environment. 43
GETTING STARTED Select the ‘Pencil Cloner’. Add Layer Above again. Select your new layer, and paint in some nice texture, and change the transparency according to your preference. Select the ‘Big Rough Square Cloner’. Add more texture, both to the foreground and background, varying the brush size as you work, preferably with the CTRL key.
All the Cloners work in a similar fashion. Try using some of the other cloners. Some have been set to control the size and other parameters based on stylus pressure e.g. Brush Cloner preset.
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Try also using the ‘Dry Bristle’ preset in the Standard Tools category for a brushed look that shows how a non-cloner preset works. Follow the contours of your image for the best results.
Also try starting a new clone layer and turning off Bump and Shininess. For example, you can turn off the channel by clicking on the channel indicator, the small button with the ‘B’ or ‘S’ in the middle, as shown below. It will ‘greyout’ when inactive.
GETTING STARTED
This is useful for creating the level of detail required by changing stylus pressure.
You can also reduce the level of Bump and Shininess by selecting the Bump and Shininess Swatches. These are the rectangles immediately to the right of the channel indicator. Simply change the greyscale value.
Note: For Bump, white is up and black is down. For Shininess, white is shiny and black is dull. See the section on Presets for examples. Select the Lighting Tab. Change the lighting direction by selecting from the lights around the sphere.
Now we will experiment with the lighting, as we did in the section Basic ‘Deep Paint 3D’: Lighting and Paint Depth.
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GETTING STARTED
Set the ambient lighting level to 0, and the spotlight lighting level to 100. As before, the bump in your stroke will be extremely exaggerated. Set the ambient lighting level to 100, and the spotlight lighting level to 0. The bump will disappear completely, giving a vibrant but flat look. Experiment with these values and your lighting direction when you are working on your images, as you can change the lighting as often as you like prior to passing your image back to Photoshop. When you are happy with your light settings, move on. Now Select the Variations category in the
Presets Tab.
Select the ‘Oil Bristle - Medium’. Freehand Tool from the Tool Palette. Select the Paint several strokes. This shows how any preset, (except Texture Paints) can be used for cloning. You can also paint with cloners. We suggest you try this. Select the ‘Simple – Medium’ preset from the Standard Tools category. Turn off the Color channel by clicking on the channel indicator, the small button with the ‘C’ in the middle, as shown below. It will ‘grey-out’ when inactive.
Paint a stroke. Experiment with lighting to best show the raised bump you just created. Change the Bump color to black by clicking on the Bump Height Indicator, the small rectangle immediately to the right of the ‘B’ button, and then selecting black in the Color Picker. Paint a stroke across the existing stoke, to lower the height of the paint. Shine is changed the same way. Experiment. Now turn Color back on, by clicking on the Color Indicator. Rotate the canvas with the Rotate Tool. Double click the canvas to reset the rotation, or select the ‘reset’ button in the Rotate Tool dialog. 46
Select File > Export > Photoshop Out, or select the return your image to Photoshop.
Eye button to
GETTING STARTED
Select the Zoom Tool, which works exactly like the Zoom Tool in Photoshop. Click once to zoom in, Alt + click to zoom out, or click and drag to select an area to zoom to. To reset the zoom, right click on the canvas as select ‘Reset Rotation’.
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Artistic Cloning - Luminance
GETTING STARTED
Deep Paint 3D can clone using Luminance for an embossed or etched look. You should be reasonably confident with the Clone Tool by now, but refer back to the previous section if you find yourself in any difficulty. Delete all your layers, except the ‘Base Layer’, by right clicking each layer in turn, and selecting Delete Layer from the pop-up. You could also select Delete Layer from the Layer Menu, via the small grey arrow in the corner of the Elements Tab. The building photo should now be visible. Add Layer Above, and Set Clone Source as usual. Select your new layer, and change the opacity to about 90%. Select the Clone Tool from the Tool Palette. Select Luminance from the Tool Options.
Choose the ‘Furry Cloner’ Start painting.
You are producing an instant charcoal etch. You should see the ‘charcoal’ catching on the edges.
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Now choose the Fill Tool. Make sure that Fill All is checked.
GETTING STARTED
Choose a color, perhaps a sepia tone such as brown, yellow or even red. Fill the top layer. Now start cloning again. Try the ‘Chalk Cloner’, ‘Brushy Cloner’, ‘Rain Cloner’ or ‘Rain Oil Cloner’. Also, try a few of the non-cloner presets such as the ‘Dry Bristle’ preset in the Standard Tools category.
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Artistic Cloning - Rub Through
GETTING STARTED
Rub Through will give you the embossed texture and ‘edges’ of the Luminance cloning option, but can also faithfully reproduce the color of your original, as with the Hue option. As in the previous example, delete all your layers except the ‘Base Layer’. The building photo should again be visible. Add Layer Above, and Set Clone Source as usual. Select your new layer, and change the opacity to about 90%. Select Rub Through from the Tool Options.
Choose the ‘Flat Oval Cloner’ Change the size to approximately 10 x 28 using the CTRL key and mouse up/down. Start painting.
You may find it interesting to fill your new layer with a color before you start cloning.
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You may find the chapter on artistic cloning in the Deep Paint 3D on-line manual contains many useful hints, as does the artistic cloning tutorial and the on-line help. The on-line manual is located on the Deep Paint 3D CDROM.
Photographic Cloning - 3D mode
This is very similar to the rubber stamp tool in Photoshop. Load the Head_sml.3ds file.
GETTING STARTED
Although Artistic Cloning is not available in 3D mode, there is another form of cloning, Photographic Cloning.
Select the Clone Tool. Hold down the Alt key, and click once on the part of the right hand eyebrow closest to the nose. This sets the point the Clone Tool will use as the source. This will become more obvious as we continue. Paint another eyebrow above the first!
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GETTING STARTED 52
For more information on Cloning see Chapter 5: Cloning, and Tutorial 5: Cloning.
Overview The advanced image spray and texture painting tool lets you use images as paint, allowing you to use your existing texture libraries in several new ways: · ·
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GETTING STARTED
GETTING ST AR TED WITH STAR ARTED TEXTURE PAINT
You can control the adjustment of scale, hue, saturation, rotation, opacity, and tile number. You can vary those settings randomly, or based on the number of dabs of paint, stylus pressure, or with the fingertip control wheel of the Wacom Intuos™ airbrush stylus. The textures Alpha channel allows image spray elements to build up in layers, for a 3-dimensional effect. You can define separate images for the texture paints Color, Bump, Shine and Alpha channels.
For detailed explanations on texture paint please refer to the on-line manual and tutorials, or make use of the on-line help.
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Procedures GETTING STARTED
Either create a blank canvas within Photoshop and send it to Deep Paint 3D, or start Deep Paint 3D, and press CTRL+N, clicking ‘Okay’ to accept the default canvas size. Right click anywhere on the canvas in Deep Paint 3D Select ‘Freehand’ from the pop-up menu. Select the Natural Category in the Presets Tab.
Select the ‘Ivy’ preset. Paint several strokes, layering the images. Note how 3-dimensional the effect is.
Try the other Ivy Texture Paint presets, such as ‘Ivy Formal’, ‘Ivy in Fall’, ‘Ivy Rainbow’ and ‘Ivy Tilt’, to see just some of the possibilities that can be developed from the one texture image. (You will need a tablet that supports tilt and direction to see the tilt effect.) When you have finished experimenting, select the basic ‘Ivy’ preset again, and use the ‘Behavior’ and ‘Advanced Behavior’ buttons in the Paint Settings portion of the Brush & Paint Settings Tab to see how these variations are developed.
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GETTING STARTED
Note: This style of button is common in the Brushes and Paint Tab. You may expand and collapse these sections as you require. You may find it useful to take some time to examine the various options available to this texture. Refer to the on-line manual or on-line help for specific details.
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GETTING STARTED
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GETTING STARTED
Select the Brushes and Paint Tab. Select the ‘Rand’ button. Move the Hue Slider fully right, to maximize hue variation. Paint several strokes. Return the Hue Slider to the center.
Try adjusting some of the other settings, such as rotate and scale, to see how these affect the result. Dab - Makes changes over the total number of dabs as set in the Behavior dialog above the Advanced Behavior dialog. Rand - Makes random changes with every dab as you paint. Press - Makes changes based on the pressure of a pressure sensitive stylus. Wheel - Makes changes based on the Wacom Intuos™ airbrush stylus with the fingertip control wheel. If you want to return your image to Photoshop, select File > Export > Photoshop Out, or select the Eye button to return your image to Photoshop. Experiment with the many different presets, and refer to the on-line manual or on-line help for specific information. Texture paint is incredibly powerful, and has a depth of functionality that cannot be fully explored in this brief introduction. 57
Texture Paint in 3D Mode
GETTING STARTED
Texture paint works exactly the same in 3D mode. Open the Head_sml.3ds file. Right click anywhere on the canvas in Deep Paint 3D Select ‘Freehand’ from the pop-up. Select the Natural Category in the Presets Tab.
Select the ‘Ivy’ preset. Paint several strokes. Hold down the ‘R’ key, and move the mouse or stylus to rotate your object. Paint several strokes. There is a chapter and tutorial written specifically for texture paint in the online manual. Please see Chapter 6: Texture Paint and Tutorial 6: Texture Paint.
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Overview Deep Paint 3D incorporates a unique new airbrush that behaves as close to a real airbrush as possible. · · · ·
GETTING STARTED
GETTING ST AR TED WITH THE STAR ARTED AIRBRUSH
Variable parabolic and elliptical spray pattern based on the stylus angle and direction for a true airbrush look. Variable feathering, spread and transparency to more accurately reproduce the effect of airbrushing. Control over height, ink-flow and scale, replicates real airbrush controls. Using the new Wacom Intuos™ airbrush stylus with the fingertip control wheel to adjust height, ink-flow and scale provides a true to life airbrush experience.
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Procedures GETTING STARTED
For the most realistic airbrush experience we suggest using the Wacom Intuos™ airbrush stylus with the fingertip control wheel. At the very least, we strongly recommend the use of standard pressure sensitive stylus, with tilt angle and directional support. If you do not have a similar device attached, you must substitute Pressure for Wheel in the following text. While most of this section can be completed with a mouse the full potential of the airbrush cannot be seen using only a mouse.
Basic Airbrush Either create a blank canvas within Photoshop and send it to Deep Paint 3D, or start Deep Paint 3D, and press CTRL+N, clicking ‘Okay’ to accept the default canvas size. From the Presets Tab, choose the Standard Tools category, and select ‘Airbrush - Flat’. Select the Freehand Tool. Paint a stroke.
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Notice how the Dab shape varies with the angle and direction of your stylus. Try the other airbrushes and go to the Brushes and Paint Tab to adjust the settings.
Remove any check marks. Now try selecting Scale or Height under the Wheel column. Scale affects the size of the brush as you paint, whilst Height simulates moving the Airbrush closer to or further away from the canvas.
GETTING STARTED
If you have a Wacom Intuos™ airbrush stylus, place a check mark next to Strength under Wheel. As you paint with the stylus, gently move the wheel forward to cut off the flow, and back towards yourself to increase the flow.
Notice how the tilt affects the brush dab shape. A vertical stylus position results in circular paint patterns, while low angle results in an elliptical pattern that starts smaller nearer the ‘nozzle’ and spreads out as it gets further from the ‘nozzle’. The brush reacts just as you would expect a real airbrush to.
Try combining pressure and wheel settings as you paint. For users with a tablet and stylus that supports tilt and angle sensitivity, experimenting with the setting is essential. For a comprehensive list, see the main Deep Paint 3D on-line manual or on-line help.
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GETTING STARTED
GETTING ST AR TED WITH STAR ARTED PRESETS Overview The paints and brushes have been designed to look, feel and interact like their real world counterparts. Most features of a paint or brush are editable. You can customize existing presets to suit your needs, or design completely new ones. ·
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Deep Paint 3D has a comprehensive range of paint types including oil, watercolor, colored and charcoal pencils, felt pens and markers, chalks, pastels, gouache, acrylics, impasto and texture paints. Deep Paint 3D also contains a broad range of brush types including simple, bristle, airbrush, and bitmap brushes. For dry and wet brush effects, a user-defined canvas can affect the brushes. You can easily edit and create new brushes, to make tools that can be saved for later use. All brushes have fully adjustable support for tablets with pressure, tilt angle and directional sensitivity for an artistic look and feel. Brushes dynamically scale, rotate and adjust canvas response based on your preferences. Presets can be shared from a central server to ensure consistency across a team of artists working on a single project.
Presets have their own chapter in the Deep Paint 3D on-line manual, and a tutorial that shows you how to get the most from Presets. For a comprehensive list, see the main Deep Paint 3D on-line manual.
Note: When experimenting with brushes and paints, the ‘Reset’ option in the Presets Menu restores the current brush to its last saved default. Click on the small grey arrow next to the ‘Save As’ button to access the menu.
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Procedures
Select the category from the drop down list. Select the Preset by clicking on it.
Note: If you change the setting on a Preset, a ‘+’ sign will appear next to its name, to remind you that it has changed but has not been saved.
GETTING STARTED
Choosing a Preset
Saving a Preset Simply click on the Save button in the Presets Tab!
Creating a New Preset Select the Preset you want to base your new Preset on, and click on the New button in the Presets Tab. Customize the settings as you please, and simply click Save to keep your new Preset. These instructions are simple because the Preset system has been designed to be as accessible as possible. However, the Presets are capable of vast variety and subtlety. Please take the time to explore the possibilities.
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GETTING STARTED
GETTING ST AR TED WITH STAR ARTED BRUSHES Overview One aspect of Deep Paint 3D not explored by many users, is the powerful ability to customize your brushes to change while you are painting. The stroke can be changed by stylus pressure or vector, or randomly, or even over time. What follows is a brief analysis of the ‘Brushy’ Preset in the ‘Variations’ Category.
Note: When experimenting with brushes and paints, the ‘Reset’ option in the Presets Menu restores the current brush to its last saved default.
Procedures Select the ‘Brushy’ preset from the ‘Variations’ category of the Presets Tab. Open the Brush & Paint Settings Tab. Select Jitter as shown.
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The best way to explain Jitter is to use it.
The stoke will appear to be much ‘cleaner’, but will have much less character! Now set the Jitter to 100. Paint a stroke.
GETTING STARTED
Paint a stroke using the current settings. Now change the Jitter to 0 using the slider. Paint a stroke.
The stroke will appear radically different. Now we’ll try the Smooth setting. Change the Jitter back to 42.8 Change the Smooth to 100 Paint a stroke. Change the Smooth back to 0 Paint a stroke. You may like to try values in between before moving on to the next section. Don’t move on until you feel you have a good understanding of how the Smooth setting works. Now we’ll change the spacing between the dabs in our stroke. Change the Space to 97 Paint a stroke. Change the Space to 0 Paint a stroke. Change the Space to 38.4 That covers all the features we will be using in the next section, so feel free to refer back. Now we will explore the ways that the ‘Brushy’ preset changes depending on
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how you paint.
GETTING STARTED
Select Stroke Behavior as shown.
Notice that the Scale setting under Pressure is currently set to 30. The Scale setting lets us vary the size of our dabs according to how hard or gently we press. The next setting is more interesting. The Jitter setting here, defaulting to 75, controls how much the pressure varies the Jitter in the stroke. Set the Jitter to 0 Paint a stroke. Set the Jitter to 100
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Paint a stroke.
GETTING STARTED
Select the Vector option as shown.
The direction that the brush travels in can control the stroke also. In this case Vector controls Rotation. The setting should be defaulting to 100. This means the brush is always rotated to be aligned with the direction of the stroke. Change the Rotation to 0 Paint a stroke. Change the Rotation to 100 Paint a stroke. Change the Rotation back to 75 The three options we have covered are just the ‘tip of iceberg’. Although these are the only three affecting this preset by default, please remember to explore and experiment with the many other options available. Refer to the Manual and On-line Help for further information.
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GETTING STARTED
GETTING ST AR TED WITH STAR ARTED PHO T OSHOP PL UG-INS PHOT PLUG-INS Overview You can take full advantage of other Photoshop compatible plug-ins from within Deep Paint 3D, affecting the color, thickness and shininess of your paint.
Note: Not all plug-ins are supported. For a list of the currently supported plugins please refer to the Deep Paint 3D support area at: http://www.righthemisphere.com Plug-ins have their own chapter in the Deep Paint 3D on-line manual, but for a complete guide to an individual plug-in, please refer to the documentation that came with it.
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Procedures
Start Deep Paint 3D. Select File > Preferences > Directories.
GETTING STARTED
Setting up plug-ins
Select the ‘Browse’ button, and point to your Photoshop plug-ins directory. Restart Deep Paint 3D.
Using Photoshop plug-ins Start Deep Paint 3D. Open an image, or transfer one from Photoshop. Select Filter > Render > Difference Clouds. Select the channels; Color, Bump and/or Shininess. Click OK.
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INTERFACE
CHAPTER ONE: THE INTERF ACE INTERFA Overview The Deep Paint 3D interface consists of four main components, the Canvas, Menus, Palettes and Tabs. The Tabs are found in the Command Panel.
The canvas is the white rectangle in the center of the example above. This is where all of your 2D images are created and edited. This background will appear black when editing a 3D object, but may be changed or set to an image. At the top of the screen are the Deep Paint 3D menus. These are briefly explained in the following section ‘The Menus’, and are covered in detail in Chapter 2: The Menus The palettes are the Tool Palette, the Color Palette, the Color Swatches and the Options Palette. These are briefly explained in the following section ‘Palettes’, and are covered in detail in Chapter 3: Palettes. The Command Panel runs down the right side of the screen by default, and is ‘dockable’. It is briefly explained in the following section ‘Command Panel’, and are covered in detail in Chapter 3: Palettes.
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The Menus INTERFACE
The menus are quite straight forward, and work as they would in any standard windows application. Menu items that have a small triangle to their right give access to sub-menus.
See Chapter 2: The Menus for a complete guide to Deep Paint 3D’s menus.
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Palettes INTERFACE
Palettes that are not already on screen can be found in the View menu. A check mark will appear to the left of each open palette.
Note: You may need to open all the Palettes to make the most of the following descriptions.
Tool Palette The Tool Palette is where all the basic tools are presented. You can also find some of Deep Paint 3D color controls.
See Chapter 3: Palettes for a complete guide to the Tool Palette.
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Color Palette
INTERFACE
Shown here are the HLS and RGB modes. You can call up the Color Palette by either selecting it in the View menu or by clicking on the Color Palette icon on the Tool Palette, or by using the ‘up gesture’. For more information on gestures see Appendix A: Keyboard Shortcuts.
The Color Palette allows you to mix color, set paint transparency, background color, bump, glow, shine and opacity strength. It also allows you to decide which color system you prefer to use. See Chapter 3: Palettes for a complete guide to the Color Palette.
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Color Swatches
INTERFACE
You can display the Color Swatches by selecting it in the View menu.
The Color Swatches allow you to quickly organize, store and recall those colors you use most often, or those colors that need to be reproduced exactly. You can also load or save standard Photoshop .ACO swatches. See Chapter 3: Palettes for a complete guide to the Color Swatches.
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Options Palette
INTERFACE
The Options Palette shows the options for the currently selected tool. The example illustrated below shows the options for the Clone Tool.
The Options Palette is dockable. This concept is explained in detail in Chapter 3: Palettes, but in brief, this palette may be dragged to any position on the screen or ‘docked’ in the dockable area along either the right or left edge of the screen.
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Material Import Palette
INTERFACE
This palette is shown when first loading a 3D object into Deep Paint 3D. When loading an object it is important that it has both a material and UV mapping assigned already. This is normally done in your 3D application.
Note: 3D painting is only as good as the UV mapping that is applied to the objects. UV Mapping should be applied in your 3D modelling system. If you do not see the letters UV in the first box and a checker pattern in the second box, as shown above, your object will need to be mapped and/or a material definition added in your 3D application. For further assistance, see the appropriate appendix and the documentation that came with your 3D application. Tip: Do not select 2 sided for a material unless absolutely necessary. Single sided rendering is considerably faster.
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Command Panel INTERFACE
The Command Panel contains four palettes or Tabs, the Presets Tab, the Brushes & Paints Tab, the Elements Tab, and the Lighting Tab.
The Command Panel is dockable. This concept is explained in detail in Chapter 3: Palettes, but in brief, this palette may be dragged to any position on the screen or ‘docked’ in the dockable area along either the right or left edge of the screen.
Presets Tab The Preset Tab is where you select the type of preset paint you want to use. Notice the small grey arrows beside the category pull-down, and the ‘Save’ and ‘Save As’ buttons. These are used to bring up further menus for editing, moving and saving presets and categories.
The Presets Tab is also used for creating and editing preset combinations of brushes and paint. See Chapter 3: Palettes for a complete guide to the Presets Tab, and see Chapter 4: Presets.
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Brushes & Paints Tab
INTERFACE
These controls will change depending on the currently selected brush and paint. Each type of brush and paint has its own unique set of controls. These controls change the look and feel of your brush and paint. You can change these settings as you work, and save the results if you wish.
See Chapter 3: Palettes for a complete guide to the Brushes & Paints Tab.
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Elements Tab
INTERFACE
The Elements Tab allows you to control the types of channels in each layer, the number of layers in your image, their opacity, and their order. The Layers Menu may be accessed by clicking the small grey triangle. Similar triangles/ menus may be found throughout Deep Paint 3D. The images show the Elements Tab in 2½D and 3D modes respectively.
The 3D mode gives access to the Layers, Materials and Object Sub-Tabs.
See Chapter 3: Palettes for a complete guide to the Elements Tab.
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Lighting Tab
INTERFACE
The Lighting Tab is where you control the levels and direction of the light that shines on your canvas. The images show the Lighting Tab in 2½D and 3D modes respectively. The 3D mode gives access to the Scene and Lighting Sub-Tabs.
See Chapter 3: Palettes for a complete guide to the Lighting Tab.
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Overview
MENUS
CHAPTER TWO: MENUS This chapter is the complete guide to the Deep Paint 3D menus. Each entry shows you the menu name, keyboard shortcut if any, and a brief explanation of the menu item and the tutorials that best explain the feature.
Note: Not all menu options will be available unless an image or object is currently loaded.
File Menu New
CTRL+N
Opens a blank canvas at the size specified in the New Image Size Dialog.
For more information on New, see Tutorial 1.
Open
CTRL+O
Opens an existing file from disk. A number of 3D and 2D file formats are supported. 3D formats include: 3DS OBJ PRJ 4DP LWO DP3 DP2 2D formats include: AFX ASCII ATT AVI BMP BRK CALS
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MENUS
CCITT Group CCITT Group III CCITT Group IV CLP CUT DCX DDB DIB EPS EXIF GX2 ICO IFF/ILBM IGF IMARA IMG-GEM IMG-Xerox IMT IOCA JFIF JPEG KFX Lossless JPEG LV MAC MO:DCA MSP NCR OS/2 BMP PBM PCD PCX PGM PICT PNG PPM Progressive JPEG SGI SUN TGA TIFF Winfax WMF WPG XBM XPM XWD
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Close
Save
MENUS
Closes the current window. If the current project has not been saved, Deep Paint 3D will remind you, and give you the option to Save before closing the window. For more information on Close, see Tutorial 1.
CTRL+S
Saves everything in the current window. The Save option allows you to save your image instantly, using the same file format and name as you used the last time you saved your image. For more information on Save, see Tutorial 1. You can specify a file extension e.g. .pcx for formats that are not listed in the file type pull-down. If your image has not yet been saved, the Save option performs exactly like the Save As option explained below.
Save As Use Save As to save your current project under a different name, or to a different location, or as a different file type. The Save As option also allows you to save .dp2 or .dp3 project files, that preserve your Deep Paint 3D layers. Deep Paint 3D will ask which format you would like your maps saved as, and what name you would like to save the file as. We recommend using .dp2 for your 2D projects, and .dp3 for your 3D projects, so you can change your layers later if you need to. Deep Paint 3D will create a project sub-directory with all the layers and channels available as separate files. These can be then edited individually by experienced users to modify the Bump, Shine, Glow and Opacity channels independently. For more information on Save As, see Tutorial 1.
Save All Maps Displays the Save All Maps Dialog. You can choose to Save Compacted Maps or Save All Layers. Save Compacted Maps – saves all the layers by saving the maps to the directory of your choice. The maps are first compacted by channel. For example, all the bump channels are combined into one map, all the color maps are combined into one map etc. This does not affect your .dp3 project. The Save Dialog automatically opens in the directory it last found the object you are working on, but you can change this. Save All Layers – saves all the layers as separate maps to the directory of your choice. The Save Dialog automatically opens in the directory it last found the object you are working on. Each channel from each layer is saved as a seperate file.
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Import > Material from Photoshop
MENUS
This option is only available in 3D mode. Returns your materials to Deep Paint 3D for further editing. For more information see Appendix B: Working with Photoshop
Export > Photoshop Out This option is only available in 2½D mode. Returns an image that was sent via the Deep Paint 3D Plug-in Manager from Photoshop, and closes the Plug-in Manager. Any changes made to the image in Deep Paint 3D will now appear in Photoshop. For more information see Appendix B: Working with Photoshop.
Note: The image is sent as one layer, and overwrites the layer that was last selected.
Export > 3D Studio Max This option is only available in 3D mode. Returns your objects and textures to 3ds Max. Any changes made in Deep Paint 3D will now appear in 3ds Max. For more information see Appendix C: Working with 3D Studio MAX.
Export > Material to Photoshop This option is only available in 3D mode. Sends your current material to Photoshop for further editing. It will only send the current material from an object with multiple materials. If you cannot see any Palettes in Photoshop, simply press the TAB key twice. Do not change the order or names of the layers in Photoshop, as Deep Paint 3D needs these to function correctly. For more information see Appendix B: Working with Photoshop
Print
CTRL+P
Selecting Print brings up a standard Windows Print Dialog. From here, you can select a printer to print to, the image print size and dpi, and the number of copies you wish printed. When you click OK Deep Paint 3D prints the image that is in the current window to the selected printer. The quality of the image will vary depending upon the printer. For more information on printing, see the documentation that came with your printer.
Print Setup Allows you to customize the various attributes particular to the currently selected printer. For more information on Print Setup, see the documentation that came with your printer, as each printer’s Print Setup may be quite unique.
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Preferences > General
MENUS
Painting Path Preview - this option allows you to set the way Deep Paint 3D displays very fast brush strokes. If the computer is unable to draw your brush stroke in real-time, a dotted line preview of the stroke can be shown. Drawing Speed - this controls the speed at which the software will attempt to display your brush strokes. With this slider moved to the far right, feedback on your lines will be very slow unless your machine is particularly fast. It will tend to reproduce your brush strokes more accurately. With this slider moved to the far left, feedback on your lines will be more immediate. It will, however, tend to reproduce faster brush strokes less accurately. Experiment with this setting if you wish, but the default setting will satisfy most users. Use this option in conjunction with Catch-up Speed. Catch-up Speed - this also controls the speed at which the software will attempt to display your brush strokes. With this slider moved to the far right, feedback on your lines will be very slow unless your machine is particularly fast. It will tend to update your brush strokes less often, and in large ‘chunks’. With this slider moved to the far left, feedback on your lines will be more immediate. Right most settings may be useful for accuracy on particularly slow machines, but remember that the feedback will be very slow indeed. We recommend you use the left-most setting that reproduces your stokes accurately. Use this option in conjunction with Drawing Speed. Undo Size - this option allows you to set the number of MB of RAM set aside for the Undo Buffer Size. The larger the number, the more actions you will be able to undo, and the larger the individual action you will be able to undo. The default is 4MB. Remember that any RAM assigned to the undo buffer will not be available to the rest of your system. Remind to Save - this controls the amount of time Deep Paint 3D will take before reminding you to save your work. Type the number of minutes into the text box, or remove the check mark to disable the option entirely. Mouse/Stylus Gesture Support - this controls whether the ‘Gesture’ shortcuts are active or not. For a complete list of gestures, see Appendix A: Shortcuts.
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MENUS
X-Wrap Mode - allows you to paint a stroke off the edge of a bitmap, and continue painting on the opposite edge in 3D mode. 4D Mouse Rotation - enables 4D Mouse Rotation. See Chapter 7: Tablets for more information. Thumbwheel Zoom - enables Thumbwheel Zoom. See Chapter 7: Tablets for more information.
Preferences > Directories Allows you to set the directories Deep Paint 3D uses when looking for resources, plug-ins and the Temp folder. Resources such as presets, canvases, brushes and plug-ins can be shared from a central server, to ensure consistency and convenience across a team working on a single project. For more information on Photoshop Plug-ins see Appendix B: Photoshop.
Recent Files This list shows the last four projects you have been working on. Selecting from this list bypasses the usual open file dialog box, and loads the project immediately.
Exit Closes the Deep Paint 3D program and exits to Windows. If any of the your open projects have not been saved, Deep Paint 3D will remind you, and give you the option to Save. For more information on Exit, see Tutorial 1.
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Edit Menu CTRL+Z or Gesture Left
Undoes the last operation performed. For more information on Undo and the clipboard in general, see Tutorial 1.
Redo
MENUS
Undo
CTRL+R or Gesture Right
Redoes the last Undone operation. For more information on Undo and Redo and the clipboard in general, see Tutorial 2.
Cut
CTRL+X
Copies the current selection set to the clipboard and removes it from the scene ready to be pasted into a new area. When a selection is cut, if it is not on the bottom layer it will leave a hole through which lower layers will be visible. If it is on the bottom layer, it will leave a patch of the Background Color in its place. As Deep Paint 3D shares the clipboard with any other applications you may be running, it is quite simple to Copy, Cut and Paste between these applications and Deep Paint 3D. For more information on Cut and the clipboard in general, see Tutorial 2.
Copy
CTRL+C
Copies the current selection to the clipboard. As Deep Paint 3D shares the clipboard with any other applications you may be running, it is quite simple to Copy, Cut and Paste the Color Channels between these applications and Deep Paint 3D. For more information on Copy and the clipboard in general, see Tutorial 2.
Paste
CTRL+V
Takes the contents of the clipboard and pastes them in to the scene. As Deep Paint 3D shares the clipboard with any other applications you may be running, it is quite simple to Copy, Cut and Paste between these applications and Deep Paint 3D. When you have pressed the Paste button or Keyboard Shortcut, Deep Paint 3D will try to paste the selection to the position of the mouse pointer, but if it is unable to do so, it will paste the selection to the center of the canvas. The pasted selection will start as a floating selection, or floater. You can drag the selection dynamically across the canvas until you are happy with its location. For more information on Paste and the clipboard in general, see Tutorial 2. Use CTRL+T to adjust the floater after a paste.
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Clear Clipboard
MENUS 88
Removes any images or information stored in the clipboard. Deep Paint 3D shares the clipboard with any other windows applications you may be running, so use caution when clearing the clipboard. Alternatively, if you have just completed a process that involved having a large image in the clipboard, and you are not likely to need it again, clearing the clipboard will give your computer back the memory that image was occupying. For more information on Clear Clipboard and the clipboard in general, see Tutorial 2.
Selection Menu CTRL+A
Selects everything in the current window. For more information on Select All and selection in general, see Tutorial 2.
Deselect All
MENUS
Select All
CTRL+D
Cancels all current selections. For more information on Deselect All and selection in general, see Tutorial 2.
Select Inverse
SHIFT+CTRL+I
Inverts all current selections. Everything that is currently selected is deselected, and everything that is unselected becomes selected. For more information on Select Inverse and selection in general, see Tutorial 2.
Set Mask Color Allows you to set the color your masks will appear. Simply select a suitable color from the Color Palette that appears. Once you have selected a color, click on the Color Palette’s ‘OK’ button. To cancel any changes click on cancel or hit ESC. For more information on Set Mask Color and masks in general, see Tutorial 3.
Set Mask Opacity Allows you to set how opaque your masks will appear. Simply select a suitable opacity from the Opacity Picker that appears. Once you have selected a level of opacity, click on the Opacity Picker’s ‘OK’ button. To cancel any changes click on cancel or hit ESC. For more information on Set Mask Opacity and masks in general, see Tutorial 2.
Save Mask Saves your current mask. Simply select the directory and name your mask. It will be saved as a .jpg by default.
Load Mask Allows you to load a previously saved mask. The options are: Assign... - Loads an existing mask. Add... - Creates a new mask by adding the saved mask to your current mask. Subtract... - Creates a new mask by subtracting the saved mask from your current mask. Intersect... - Creates a new mask consisting of all the 89
MENUS 90
common areas between your existing mask and the mask you load.
Filter Menu
MENUS
Only available in 2½D mode, or when viewing your 3D maps in a 2D preview window. Below is a list of the filters that ship with Deep Paint 3D. Deep Paint 3D allows the user to take full advantage of other Photoshop compatible plug-ins from within Deep Paint 3D. Plug-ins can be made to affect the color, paint thickness and shininess. This brings a new dimension to existing plugins, and further enhances the value of investing in other Photoshop compatible plug-ins. Your other Photoshop compatible filters will appear below these. Please refer to the documentation that came with your other Photoshop compatible filters for details on their exact features.
Note: Not all Photoshop compatible filters are supported.
Last Filter Applies the last filter used. It applies it to your current selection, if any.
Invert > Color Inverts the color in the selected portions of your image.
Invert > Alpha Inverts the alpha in the selected portions of your image.
Blur > Normal Applies the Normal Blur Filter.
Blur > Set Blur Filter Allows you to set the filter parameters for the Blur Filter. Larger numbers further from the center result in a greater amount of blurring. Experiment for best effect.
Brightness/Contrast... Allows you to set the levels for the Brightness and Contrast in the selected portions of your image. Simply move the appropriate slider, and observe the effect in the preview window.
Hue/Saturation... Allows you to set the levels for the Hue and Saturation in the selected portions of your image. Simply move the appropriate slider, and observe the effect in the preview window.
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View Menu MENUS
Selecting any of these menu items toggles its visibility. For example, if there is a check mark immediately to the left of the words File Toolbar, then the toolbar will be visible. If there is not a check mark immediately to the left of the File Toolbar, then the toolbar will not be visible. This applies to all the View menu items listed: File Toolbar Status Bar Info Bar Tools Tool Options Command Panels Color Color Swatches For a full description of these items and their functions, see Chapter 1: Interface or Chapter 3: The Palettes.
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Windows Menu
Cascade rearranges all the currently open windows in a ‘cascading’ or overlapping pattern.
MENUS
Cascade
Tile Horizontally Rearranges all the currently open windows so that all currently open windows are visible, and arranged in a horizontal fashion.
Tile Vertically Rearranges all the currently open windows so that all currently open windows are visible, and arranged in a vertical fashion.
Arrange Icons If you have minimized several windows, and moved their icons, this command will rearrange them across the bottom of the screen.
Current Windows List Displays a list of all the currently open windows. Selecting a window from the list makes that window the current window, and displays it if it was previously hidden.
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Help Menu MENUS
Help Topics
F1
Opens Deep Paint 3D’s on-line help files.
Frequently Asked Questions Opens Deep Paint 3D’s ‘FAQ’ or Frequently Asked Questions.
Register Deep Paint 3D Allows you to register Deep Paint 3D.
Right Hemisphere Home Page Connects to Right Hemisphere’s Home Page on the Internet.
Note: You must be currently connected to the internet for this option to work.
About Deep Paint 3D Opens the About Box. The About Box displays the version of Deep Paint 3D you are running, and some system information such as memory you have available. This information is particularly important if you ever need to contact Right Hemisphere with a question. You will also find Right Hemisphere’s contact details including URL links to the World Wide Web, and legal and copyright notices.
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Overview Palettes are small floating windows or dialog boxes that hold related information and tools together. This allows you to use commands and processes in a simple and logical way.
PALETTES
CHAPTER THREE: PALETTES
Palettes within the Command Panel often have a toggle button, such as the Brush settings toggle shown below.
You can use these toggles to reveal extra options or to keep your palettes smaller and less intrusive. For more information on viewing and hiding palettes, see View in Chapter 1: Menus, and Chapter 1: The Interface. Where the text refers to applying an effect or tool to the ‘canvas’, it includes both the 2½D canvas and the 3D object layers. In 3D mode, apply the effect or tool directly to the object.
Tool Palette The Tool Palette contains all of Deep Paint 3D’s tools. You can also find some of the Deep Paint 3D color controls.
Any options associated with the currently selected tool will appear in the Options Palette. For a brief overview of the Tool Palette, see Chapter1: The Interface. For a brief overview of the Options Palette, see Chapter1: The Interface and Options Palette in Chapter 3: Palettes.
Eraser Tool
‘E’
The Eraser Tool erases from the currently selected channels, allowing channels in any visible layers below to show through. Three options are available: Normal – Erases from the selected channels, using the currently selected brush. Bleach – The edges of the areas you erase will tend towards white as if they had been bleached. 95
PALETTES
Smudge – The edges of the areas you erase will tend to smudge as if you where wiping the paint off with a cloth. For more information on the Eraser Tool, see Tutorial 1.
Freehand Tool
‘B’
The Freehand tool draws using the currently selected brush and paint. Simply click and hold the left mouse button and move the mouse to draw, or press your pressure sensitive tablet with the stylus. The Freehand tool is extremely simple and intuitive, just like drawing on a piece of paper or object. For more information on the Freehand Tool, see Tutorial 1. You may also wish to refer to Chapter 6: Texture Paint.
Text Tool
‘T’
The Text Tool lets you create text on your canvas, using the current Channel Attributes such as Bump and Color. Click on the canvas or object, and type your text into the Text Editing Dialog. This is where you can set your font type, style and size, using the Change Font button. The text in the dialog will change to reflect your choices. When you are satisfied, click Okay to commit your choices to the canvas or object, or click Cancel. For more information on the Text Tool, see Tutorial 1.
Tip: For the best results, please ensure "Smooth edges of Screen Fonts" is turned on in your Windows display options.
Fill Tool
‘K’
This tool fills the canvas with the current paint. Tolerance - The higher the setting for tolerance, the more likely the paint is to spill over through surrounding areas of color. The lower the tolerance, the less the paint will eat into or spill through surrounding areas of color. You can change the tolerance from 0 to 255 using the spinner. Fill All - The Fill All check box ignores the boundaries of surrounding areas of color, and fills the canvas completely with the current foreground color. Use with caution, as you will often be unable to undo this action without a very large setting for the Undo Buffer.
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Reference - Allows you to select which channel the Fill Tool will act on. You can choose either the ‘C’, ‘B’, ‘S’, ‘G’ or ‘O’ buttons, to fill the Color, Bump, Shine, Glow or Opacity channels respectively.
PALETTES
Sample Merged - With this option enabled, Deep Paint 3D treats the image as if it were one layer. This means it the fill uses the entire visible image to find the ‘borders’ it can paint too. With this option turned off, the fill will ignore layers beneath the current layer for the purpose of finding ‘borders’. Feathered - With this option enabled, Deep Paint 3D uses the differance between each pixel and the target pixel to specify the paint strength on that pixel. For more information on the Fill Tool, see Tutorial 1.
Rotate Light Tool
Hold ‘L’ + Move Mouse/Stylus
The Rotate Light Tool allows you to rotate your light by clicking and dragging. Double click on the canvas or use the ‘Reset’ button under Rotate Options to return to the default light settings.
Line Tool
‘N’
The Line Tool allows you to choose from the following geometry: Straight Line
– You may either click on the start and
end positions of your line, or click and hold at the start point of your line, and click and drag to the end point of your line. In the second instance you will see a ‘rubber band’ effect to show you exactly where your line will appear. N-Gon
– Creates any regular N-Gon with 3 to 30 sides.
You can change the number of sides with the spinner. Joined Line
– Works exactly the way the Straight Line
works, but allows you to continue adding new lines from the end of the previous line, until you double click the end point of the last line in the series, or click on the origin. Circle/Ellipse
– Click and drag until you have a circle or
ellipse that meets your requirements. You will see a ‘rubber band’ preview until you release the mouse.
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PALETTES
You can modify the N-Gon and Circle/Ellipse options of the Line Tool geometry by selecting the following check boxes: Centered – Forces geometry to be drawn from the center, rather than from edge to edge. Lock Aspect – Locks the aspect, drawing perfect geometry. You can modify Line Tool geometry by holding down the following keys while drawing: CTRL – Move the geometry to a new position before they are drawn ALT – Rotate the geometry around their origin before they are drawn. SHIFT – Applies ‘angle snap’ to lines. For more information on the Line Tool, see Tutorial 1.
Clone Tool
‘S’
The Clone Tool uses another layer as a reference in creating a new image. This allows you to paint by exactly reproducing imagery, or by reproducing existing imagery in a new style or medium. Artistic Cloning – With this option off, the tool paints using the brush characteristics only, reproducing an image with its edges clearly defined and with the texture of the brush showing through. With the Artistic Cloning option on, the tool copies using the currently selected Brush, allowing you to blend and smear the colors and edges. Because of the usefulness of this tool we have included a basic guide, a sort of ‘mini-tutorial’ for you to refer to whenever you use this tool.
A shortcut is to use the Clone Trace function, available either from the menu in the Elements Tab, or by selecting and then right clicking on the layer you wish to clone. The current layers becomes the Clone Source, and has the Opacity set to 30%. A layer is created above, and is selected as the current layer. This is a useful production tool for Artistic Cloning.
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Refer to Chapter 5: Cloning and Tutorial 5: Cloning for a complete guide to using the Clone Tool.
‘I’
The Eyedropper Tool lets you sample the paint characteristics such as Color, Bump and Shininess, under the tip of the tool, and sets the current paint characteristics to these.
PALETTES
Eyedropper Tool
Holding the ALT key while selecting a foreground color, allows you to set background color instead. For more information on the Eyedropper Tool, see Tutorial 1.
Marquee Tool
‘M’
You may choose from the following selection methods, in both normal and Quick Mask modes: N-Gon – Selects using a rectangular marquee. Click and drag until your rectangle meets your requirements. Joined Line
– Allows you to continue adding new lines
from the end of the previous line, until you double click the end point of the last line in the series, or click on the origin. Circle/Ellipse
– Click and drag until you have a circle or
ellipse that meets your requirements. You will see a ‘rubber band’ preview until you release the mouse. Polygons/Faces
– 3D mode only. Click and drag over
the faces you wish to select. You can modify Marquee Tool geometry by selecting the following check boxes: Centered – Forces rectangles and ellipses to be drawn from the center, rather than from edge to edge. Lock Aspect – Locks the aspect of rectangles and ellipses, , producing squares and circles. Feather Spinner – Sets the amount of feather, from 0 to 30. 99
PALETTES
In 3D mode, you can modify the area to be selected by the Marquee Tool by selecting from the following options: Visible Pixels Only – Selects only pixels visible from the current point of view. Pixels that cannot be seen are not selected. Front Facing Only – Selects front facing only in a direct line from your current point of view. Will select both sides if the material is double sided. Both Sides Always – Selects both sides in a direct line from your current point of view. You can modify Marquee Tool geometry by holding down the following keys while drawing: CTRL – Move the geometry to a new position before they are drawn ALT – Rotate the geometry around their origin before they are drawn. SHIFT – Snaps to angle when drawing Joined Lines. You can add or delete parts of a selection set by holding down the following keys before drawing: ALT – Removes from a selection set. SHIFT – Adds to a selection set.
Magic Wand Tool
‘W’
The Magic Wand Tool lets you quickly select any consistently colored area. Reference – Allows you to choose the channel the Magic Wand Tool will select from, either ‘C’, ‘B’, ‘S’, ‘G’ or ‘O’ buttons, representing Color, Bump, Shine , Glow and Opacity respectively. Tolerance – The higher the setting for tolerance, the wider the range of color to be included in the selection. The lower the tolerance, the more exact the color match. You can change the tolerance from 0 to 255 using the spinner. 100
Example: A clowns face with two red circles, one on each cheek. Selecting one red circle with Contiguous on, only selects the circled that was clicked on. With Contiguous turned off both red circles would be selected.
PALETTES
Contiguous – With this option turned off, the tool selects all instances of that color. With the option turned on, all instances of that color that are Contiguous from the point clicked are selected.
Feathered – Feathers the edge of your selection, giving a more gradual falloff, rather than a hard edge. For more information on the Magic Wand Tool, see Tutorial 3: Selections.
Pan Tool
‘Spacebar’
Moves the current canvas or scene. The Along check boxes allow you to restrict movement to any single axis, or to allow movement in both the x and y-axis simultaneously. Along X - When selected, this option allows movement in the X axis or ‘side to side’. Along Y - When selected, this option allows movement in the Y axis or ‘up and down’. You may reset your move by double clicking on the canvas. For more information on Moving, see Tutorial 1.
Zoom Tool
‘Z’
Moves your point of view closer or further away from the scene. To zoom in one step, click once over the area you wish to zoom in on, or ALT+Click to zoom out one step. To zoom on a particular area of an image, click and drag a marquee box until it contains everything you want to view. Deep Paint 3D then creates the best view based on your selection. To zoom dynamically, hold down SHIFT+drag up and down to zoom in and out respectively. Depending on the speed of your machine, and the complexity of the image, you should see the view update in real time.
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The following controls are available:
PALETTES
Extents - Zooms until it shows the entire canvas. Factor - Shows the current zoom factor as a percentage. Change the current factor directly by typing a new amount into the text box. You may also select a zoom factor by clicking on the small triangle to the right of the text box. You may reset your canvas by double clicking. For more information on Zooming, see Tutorial 1.
Move Tool Moves the current floater. Dragging a selection creates a floater. The Along check boxes allow you to restrict movement to any single axis, or to allow movement in both the x and y-axis simultaneously.
Along X - When selected, this option allows movement in the X axis or ‘side to side’. Along Y - When selected, this option allows movement in the Y axis or ‘up and down’. Flip Horizontally - Select this button to flip the current floater horizontally. Flip Vertically - Select this button to flip the current floater vertically. Drop Floater - Drops the current floater into place. Delete Floater - Deletes the current floater.
Rotate Tool
R+Mouse Up/Down
Rotates the Lights or the current Canvas.
Rotate Canvas - Rotates the current canvas or object. Note: In 3D mode, holding CTRL while rotating will restrict movement to the Zaxis. 102
Rotate Lights - Rotates the scenes lights.
Reset - This button resets the canvas to its default position.
Foreground Color
PALETTES
Rotate Object - Rotates the object. Only effective in 3D mode.
Clicking on this will bring up the Color Palette, and allow you to set the Foreground Color.
Background Color Clicking on this will bring up the Color Palette, and allow you to set the Background Color.
Default Colors
‘D’
Resets the Foreground Color to black and the Background Color to white.
Swap Color
‘X’
Swaps the current Foreground and Background Colors.
Color, Bump, Shine, Glow and Opacity Toggles These toggles allow you to set which channels are going to be affected by your current operation or tool. When you wish to stop a channel from being affected, simply click on its indicator, which will then turn dark grey. C – Color: This channel contains all the information about the ‘flat’ color that appears in the layer. The values are stored by Deep Paint 3D as 24-bit and may range anywhere within the usual 16.8 million color range. B – Bump: The bump values are represented as a greyscale image. Black areas will appear to be lower, while white areas appear higher. Grey values can vary anywhere between the two extremes. S – Shininess: This channel is also a greyscale. Black areas have no shininess, while white areas are very shiny and specular. Grey values can vary anywhere between the two extremes. G – Glow: The glow values are represented as a greyscale image. Black areas will appear to be dull, while white areas appear to glow brightly. Grey values can vary anywhere between the two extremes.
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O – Opacity: This channel is also a greyscale. Black areas represent holes or complete transparency, while white areas are solid or completely opaque. Grey values can vary anywhere between the two extremes.
Note: The Deep Paint 3D renderer is currently unable to display real-time opacity effects. A simple shortcut, is to create a new layer, create a color channel in that layer, and paint your opacity map as a greyscale. When you are happy with your map, drag and drop your new color channel onto the opacity channel. To enable a channel, click on it until the indicator returns to its usual light grey color.
Current Color, Bump, Shine, Glow and Opacity These indicators show at a glance the current color for the Color channel, and the current greyscale level of the Bump, Shine, Glow and Opacity channels. You can set the current level of any of those channels by clicking on the indicator , which will bring up the Color Palette. Simply select the color or greyscale level you require. See the preceding section Color, Bump, Shine, Glow and Opacity Toggles for more information.
Canvas Brings up the Select Canvas Dialog. Simply choose a canvas, and click OK, or click Cancel to return to Deep Paint 3D without making any change to your current canvas. Any preset that utilizes the current materialcanvas will use your selection when painting. The exact response is determined by the Scale and Spread settings. To create your own canvases, any bitmap can be placed into either of the following directory: C:\Program Files\DeepPaint\Resource\Canvas All bitmaps will be treated as greyscale images.
Note: These are the default directories. If you chose the custom option when installing Deep Paint 3D, the exact directory location may be different. 104
This button converts your Mask to a selection. For details on how to paint a Mask, see the Paint Mask section that follows.
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Mask to Selection
Paint Mask This button selects Masking Mode. Masks are a simple way to select complicated areas of your work. The mask works in much the same way as traditional masking fluid, but in reverse. Simply paint the mask over the area you wish to work on. When you have finished creating your mask, click the Masking to Selection Button to convert it to a selection. For more information on the Masking Tool, see Tutorial 3. You can both paint and erase your mask before converting it to a selection.
Tip: To limit your painting or effect to the masked area use Select Inverse (CTRL+Shift+I) to rapidly toggle between selected and non-selected areas. Example: Painting sunglasses. To quickly change between painting the lens and the frames, without ‘spilling’ paint from one to the other: mask one, preferably the quickest and easiest, and use Select Inverse as you work. You can save and load your selection sets. See Selection > Load Mask and Selection > Save Mask in Chapter 3: Menus for more information.
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Color Palette
F4
PALETTES
This palette is used to choose the color values you paint with, from either 16 million colors and shades for the actual Color channel, to 256 shades or levels of grey for the Bump and Shininess channels.
Use the Color Mode Selector to choose between HLS and RGB. The Channel Selector is where you choose which channel the color will be applied to. For a brief overview of the Color Palette, see Chapter1: Interface.
HLS The HLS color model uses Hue, Luminance and Saturation to define a color. Color Channel – In SL-H mode, select the color channel using the Channel Selector. Next select a hue in the Hue Selector. Now select the specific shade in the Color Palette. Lastly, use the Opacity Selector. Bump, Shine, Glow and Opacity Channels – Select the appropriate channel using the Channel Selector. Now select the specific greyscale value in the Color Palette. Lastly, use the Opacity Selector. Mode Variations – Options are HL-S, HS-L and SL-H. The letters before the hyphen indicate the combination displayed in the Color Palette. The remaining letter indicates what is shown in the Side-bar. The Hue Selector is only available when choosing for the Color channel. The Hue Selector is disabled when any other channel is selected, as those channels may only make use of a 256 color greyscale value.
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RGB
Color Channel – Select the Color channel using the Channel Selector. Next select the red, green and blue values either by typing them into the text boxes, using the RGB Spinners next to the text boxes or by using the RGB Sliders. Lastly, use the Opacity Selector.
PALETTES
The RGB color model uses Red, Green and Blue values to define a color.
Bump, Shine, Glow and Opacity Channels – Select the appropriate channel using the Channel Selector. Now select the specific greyscale value either by using the RGB Spinners next to the text boxes or by using the RGB Sliders. They will all move in unison.
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Color Swatches
F3
PALETTES
The Color Swatches help organize the colors you use most often. You can use the Color Swatches to store or retrieve values for the Color channels.
CTRL+Click deletes a swatch from the palette, and SHIFT+Click adds a swatch. The small grey triangle in the right hand corner, the Swatch Option Selector, gives you the following options: Reset – Replaces the current swatch with the default.ACO that ships with Deep Paint 3D. Deep Paint 3D automatically loads the last used swatch when you start the program. Load – Lets you load any Photoshop compatible .ACO file, and appends it to the end of the swatch pots you already have. Replace – Replaces your current swatch with another any Photoshop compatible .ACO file. Save – Saves your current swatch as a Photoshop compatible .ACO file. The swatches are compatible with Photoshop .ACO files.
Note: The LAB color Mode is not currently supported.
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Options Palette PALETTES
The Options Palette shows the options for the currently selected tool. The example illustrated below shows the options for the Clone Tool.
Also, the Options Palette is dockable. This means the palette may be dragged to any position on the screen or ‘docked’ in the dockable area along either the right or left edge of the screen. For exact details on the contents of the palette, refer to the section on the currently selected tool.
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Material Import Palette PALETTES
This palette is shown when loading a 3D object into Deep Paint 3D. When loading an object it is important that it has both a material and UV mapping assigned already. This is normally done in your 3D application.
Note: 3D painting is only as good as the UV mapping that is applied to the objects. UV Mapping should be applied in your 3D modelling system. If you do not see the letters UV in the first box and a checker pattern in the second box, as shown above, your object will need to be mapped and/or a material definition added in your 3D application. For further assistance, see the appropriate appendix and the documentation that came with your 3D application. Tip: Do not select 2 sided for a material unless absolutely necessary. Single sided rendering is considerably faster.
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Command Panel PALETTES
The Command Panel contains four palettes, the Presets Tab, the Brushes & Paints Tab, the Elements Tab, and the Lighting Tab.
The Command Panel is dockable. This means the palette may be dragged to any position on the screen or ‘docked’ in the dockable area along either the right or left edge of the screen.
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Presets Tab PALETTES
The Presets Tab holds and controls your brush Presets, allowing you to save, delete and create new combinations of brushes and paints.
The Category Selector allows you to choose the category of your Preset. Alternatively you can choose to display all the categories at once. The ‘Save’ and ‘Save As’ button perform the same actions as their counterparts described in the Presets Menu below.
Category Menu Add Category - Allows you to create a new category. Rename Category - Allows you to rename an existing category. Delete Category - Allows you to delete an existing category. Use with caution. Merge Preset Files - Allows you to combine .tbx preset files.
Presets Menu New - Creates a new preset in the current category, based on the currently selected Preset. Save - Allows you to save the currently selected Preset. Save As - Allows you to save the currently selected Preset with a new name. Save All - Allows you to save all your Presets. Edit - Allows you to edit the currently selected Preset. Reset - Resets the currently selected Preset to the default values. 112
Delete - Deletes the currently selected Preset. Use with caution. This palette is explained in depth in Chapter 4: Presets.
PALETTES
Change Category - Moves a Preset from on category to another.
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Brushes & Paints Tab PALETTES
The Brushes & Paints Tab contains all the Brush and Paint settings associated with your currently selected Preset.
Brush Settings The Brush Settings area organizes the information and controls you need to get the most from your brushes. The brushes themselves can be divided into the three types Simple, Artist and Airbrush.
Standard or Simple Brush The simplest brush, with minimal controls:
Brush Preview – Shows a plan view of the brush, and gives the brushes dimensions in pixels. Clicking on the small grey triangle next to the preview brings up the Select Brush Shape dialog. Aspect Spinner – Moving the spinner up results in a circular brush. Moving the spinner down creates an elliptical (flat and thin) brush. Rotate Spinner – Moving the spinner up rotates the brush head counterclockwise. Moving the spinner down rotates the brush head clockwise.
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Scale Slider – Moving the slider left decreases the brush size, until the minimum of 1 x 1 pixels is reached. Moving the slider right increases the brush size to a maximum of 80 x 80 pixels. Larger brush sizes are possible using the CTRL+Mouse Up/Down shortcut while painting, or by typing the number into the text box. Feather Slider – Moving the slider left gives the brush a very hard, harsh edge. Moving the slider right gives the brush a softer, anti-aliased look. Strength Slider – Moving the slider left creates a very transparent brush, until 100% transparency is reached. Moving the slider right decreases the transparency until the brush is 0% transparent, or fully opaque. Taper Slider – Moving the slider to the absolute left results in no taper at all. Moving the slider right increases the amount the brush will taper, until the brush very quickly tapers to nothing over a very short stroke. There are also the following additional controls and Brush Options: Align to Path – With this option enabled the brush head will rotate to follow the direction in which the line is being drawn. With the option turned off, the brush head will remain aligned in its default position. Pressure Affects: Scale – Pressure Sensitive Tablets Only! The harder the pressure, the larger the brush. The lighter the pressure the smaller the brush. Pressure Affects: Strength – Pressure Sensitive Tablets Only! The harder the pressure, the more opaque the brush. The lighter the pressure, the more transparent the brush.
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Artist Brush
PALETTES
Able to accept complex parameters, the artist brush is the most flexible of the Deep Paint 3D brushes. The artist brush is able to replicate virtually any brush shape or style imaginable.
The brush has the following options: Brush Preview – Shows a plan view of the brush, and gives the brushes dimensions in pixels. Clicking on the preview brings up a large cross-sectional view of the current brush tip. Clicking in the small grey triangle next to the preview brings up the Select Brush Shape dialog. Scale Slider – Moving the slider left decreases the brush size, until the minimum of 1 x 1 pixels is reached. Moving the slider right increases the brush size to a maximum of 80 x 80 pixels. Larger brush sizes are possible using the CTRL+Mouse Up/Down shortcut while painting, or by typing the value into the text box.
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Angle Spinner – Moving the spinner up rotates the brush head counterclockwise. Moving the spinner down rotates the brush head clockwise. This control is very similar to the Simple Brush’s Rotate Slider.
Brush Profile – This allows you to select a Brush Tip from six styles. The Brush Tip will affect how and where the paint will tend to ‘pool’ or be thinner. Experimentation is highly recommended. The available types are:
PALETTES
Squash Spinner – Moving the spinner up results in a circular brush. Moving the spinner down creates an elliptical (flat and thin) brush. This control is very similar to the Simple Brush’s Aspect Slider.
Very thin concentration of color in the center with an even, linear falloff. Medium color through the center, gradual dropoff. Thin concentration of color in the center with a rapid falloff. Flat color in the center, with a fairly rapid falloff. Large area of flat color in the center, thinning Most color in the edges, less in the center. The grey triangular selector below this area gives access to the remaining Artist Brush features. It is important to remember that the options in this section are active even if you cannot currently see them in the palette. The options are: Feather and Canvas - This option groups the controls that give the brush head and individual dabs their distinct look. Feather Slider – Moving the slider left creates a very hard edged brush. Moving the slider right creates a very soft edged brush. Strength Slider – Moving the slider left creates a very transparent brush, until 100% transparency is reached. Moving the slider right decreases the transparency until the brush is 0% transparent, or fully opaque. Paint Valleys – With this option enabled, the brush will fill the ‘valleys’ of the canvas, only painting on the lower areas. It effectively inverts the usual result. 117
PALETTES
Sink – Controls the amount the paint sinks into the current canvas or bump map. The lower the sink value, the more the paint is confined to the higher peaks of the canvas or bump map. Spread – Controls the amount that the paint spreads out for each dab, and can be thought of as feathering the effect of sink.
Note: this is reversed when Paint Valleys is selected. No Canvas – This option removes all canvas effects from the current brush. Brush Canvas – Overrides the current global canvas. Select your brush canvas by clicking on the small grey arrow to the left. Brush canvas settings are saved when you save the brush as a preset. Material Canvas – Uses the current global canvas. See the Tool Palette section of Chapter 3: Palettes for more information about changing the global canvas. Material Bump – This option allows you to paint the canvas texture into your images, using the bump channel.
Tip: Experimenting with these settings with both standard and bitmap brush canvases can result in some very interesting effects. Jitter - This option groups the controls that give the brush strokes their smooth or ‘jittery’ and random feel. Jitter Preview - Shows an approximate preview of the effects of your current jitter settings. Jitter Slider - Moving the slider fully left completely eliminates all jitter, producing an exact, even reproduction of your brush stroke. Moving the slider fully right introduces the maximum random variation from your original stroke, producing an uneven or jittery series of unconnected dabs of paint.
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Smooth Slider - Moving the slider fully left produces an exact, even reproduction of your brush stroke. Moving the slider fully right introduces the maximum random variation from your original stroke, producing
Space Slider - Determines the distance between each dab in the brush stroke. With the slider fully to the left, a standard line will be painted. With the slider fully right there will be a significant distance between each dab, producing a series of dots rather than a line.
PALETTES
a stroke that mimics maximum jitter (see above) but as a single brush stroke, rather than a series of unconnected dabs of paint.
Stroke Behavior - This option groups the controls that can be made to dynamically alter a stoke as it is being painted. The grey triangle below the words Stroke Behavior give access to the various ways in which you can control the way Deep Paint 3D will vary its stroke. Any settings that exist will affect the stroke, even if those settings are not currently visible. Tablet Pressure - Sets which brush characteristics the stylus pressure will affect. Tablet Direction - Sets which brush characteristics the stylus tilt direction will affect. Tablet Angle - Sets which brush characteristics the stylus tilt angle will affect. Finger Wheel - Sets which brush characteristics the fingertip control wheel on the Wacom Intuos™ airbrush stylus will affect. Vector - Sets which brush characteristics the stroke vector will affect. Speed - Sets which brush characteristics the stroke speed will affect. Random - Sets which brush characteristics will be varied randomly during a stroke. Time - Sets which brush characteristics will be varied over time. Each of these control mechanisms can be made to affect each of the following stroke characteristics. Any sliders fully to the left will not affect the stroke, while sliders fully right will have a maximum effect on the stroke.
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PALETTES
Scale - Sets the degree to which scale will be affected. See earlier in this chapter for a description of Scale. Rotate - Sets the degree to which rotation will be affected. See earlier in this chapter for a description of Rotate. Squash - Sets the degree to which squash will be affected. See earlier in this chapter for a description of Squash. Strength - Sets the degree to which strength/transparency will be affected. See earlier in this chapter for a description of Strength. Sink - Sets the degree to which sink will be affected. See earlier in this chapter for a description of Sink. Jitter - Sets the degree to which jitter will be affected. See earlier in this chapter for a description of Jitter.
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Airbrush
PALETTES
Performs like its real world counterpart. Although this feature works well with any pressure sensitive device, it functions particularly well with the Wacom Intuos Tablet and Airbrush Pen, as this device has the same controls as a real airbrush, and the same ergonomics.
In all cases the check boxes under Wheel should only be used with the Wacom Intuos™ airbrush stylus with the fingertip control wheel. The Pressure settings work with any pressure sensitive tablet, including the Wacom Intuos™ airbrush stylus. Brush Preview – Shows a plan view of the brush, and gives the brushes dimensions in pixels. Clicking on the preview brings up a large view of the current brush tip. Extra Smooth – Adds an extra level of smoothing to the resulting stroke. Scale Slider – Moving the slider left decreases the brush size, until the minimum of 1 x 1 pixels is reached. Moving the slider right increases the brush size to a maximum of 80 x 80 pixels. Feather Slider – Moving the slider left gives the brush a very hard, harsh edge. Moving the slider right gives the brush a softer, anti-aliased look.
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Strength Slider – Moving the slider left creates a very transparent brush, until 100% transparency is reached. Moving the slider right decreases the transparency until the brush is 0% transparent, or fully opaque. Spread Slider – Controls the amount of paint spread. Moving the slider left lowers the amount of paint spread. Moving the slider right increases the paint spread.
Note: The following setting operate by either Wheel or Pressure. Height – This selection is exclusive. It simulates the height or distance of the airbrush from the canvas. Pulling the wheelback simulates moving the airbrush further from the canvas. Pushing the wheel forward simulates moving the brush closer to the canvas. Scale – Pulling the wheel back creates a larger brush pattern. Pushing the wheel forward creates a smaller brush pattern. Strength – This simulates the normal inkflow of a real airbrush. Pulling the wheel back results in greater inkflow, just as with a genuine airbrush, giving darker colors. Pushing the wheel forward gives lighter inkflow and color.
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Elements Tab
Layers are like stacked panes of glass. If you paint on the top layer, it hides anything painted on layers below, while any holes or gaps will reveal the layers below.
PALETTES
Understanding the simple concepts of layers and channels is crucial to getting the most from Deep Paint 3D.
When in 2½D mode, the layer options are quite simple. The layer may be made visible, or hidden, by simply clicking on the first column in that layer. If a small eye shaped icon is present, the layer will be visible, and if the column is empty, the layer will be hidden
Layers Sub-Tab When used in 3D mode, under the Layers sub-menu, each layer has five channels. They are: C – Color: This channel contains all the information about the ‘flat’ color that appears in the layer. The values are stored by Deep Paint 3D as 24-bit and may range anywhere within the usual 16.8 million color range. B – Bump: The bump values are represented as a greyscale image. Black areas will appear to be lower, while white areas appear higher. Grey values can obviously vary anywhere between the two extremes. You may find additional information about bump maps and the way your 3D application handles them, in the documentation that came with your 3D application. G – Glow: The amount of glow or self-illumination is represented as a greyscale image. White areas will appear to glow, while black areas will not. Grey values can obviously vary anywhere between the two extremes. Deep Paint 3D 2.0 is not currently able to show the effect of your glow map actually glowing. You should use your 3D application to see the full effect. You may find additional information about glow maps and the way your 3D application handles them, in the documentation that came with your 3D application. S – Shininess: This channel is also a greyscale. Black areas have no shininess, while white areas are very shiny and specular. You may find additional information about shininess or specular maps, and the way your 3D application handles them, in the documentation that came with your 3D application.
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PALETTES
O – Opacity: This last channel is another greyscale. White areas are completely opaque, while black areas are very transparent. You may find additional information about opacity or transparency maps, and the way your 3D application handles them, in the documentation that came with your 3D application.
Tip: When painting Opacity, which cannot be rendered in Deep Paint 3D currently, it is a good idea to make a new color channel in a new layer and paint black and white as desired for opacity. Then move this layer to the Opacity Channel when you have finished. Although all layers are able to display and use these channels, you are free to pick and choose which channels you will allow for each layer. As each channel is stored and saved separately, you should only use those channels you need, to save memory and disk space. The Material Selector is a combo box showing the currently active material. To change materials, simply click on the triangle to the right and select your material from the list that drops down. Below this you will see the Transparency Slider.
Transparency Slider - Sets the transparency for the active layer. The active layer is easily identified by the red border that surrounds it. When the slider is fully to the left the layer is completely transparent, and when the slider is fully to the right the layer will appear completely opaque. You may add a layer in one of three ways: Firstly, you can use the small triangle or right click on the Layer Background, the light grey area below your existing layers, and select the option Add Layer. You may have to scroll down to see the Layer Background if you have many layers. Secondly, you can right click on the name of an existing layer, and select either Add Layer Above or Add Layer Below from the pop-up menu. Add Layer Above puts the new blank layer immediately above the layer you right clicked. Add Layer Below puts the new blank layer immediately below the layer you right clicked. Thirdly, you can double click on the light grey area below the lowest layer. 124
PALETTES
Right click on an existing Layer Name to see the Layer Popup Menu. Options are:
Layer Properties – Brings up the Layer Properties Dialog. Allows you to change the Layer Name and Layer Opacity. Also gives information on the resolution of the layer, and a list of the channels in the layer. Identical to double clicking the Layer Name. Add Layer Above – Add Layer Above puts the new blank layer immediately above the layer you right clicked. Add Layer Below – Add Layer Below puts the new blank layer immediately below the layer you right clicked. Set Clone Source – Sets the current layer as the source for the Clone Tool. Clone Trace – Quickly sets up an image for cloning. The current layers becomes the Clone Source, and has the Opacity set to 30%. A layer is created above, and is selected as the current layer, ready for cloning. Duplicate Selected – Makes a duplicate of the currently selected layer. Merge Layer Down – Merges the selected layer with the channel immediately below. Merge Visible – Merges all visible layers into one. Visible layers can be quickly identified by the small eye icon. Flatten Layers – Flattens all your layers into one layer. Clear Layer – Clears the currently selected layer back to an empty and transparent state. 125 Delete Layer – Deletes the current layer.
PALETTES
The layer may be made visible, or hidden, by simply clicking on the first column in that layer for the 2½D mode, or by CTRL + Clicking on a channel icon in 3D mode. In 2½D mode, if a small eye shaped icon is present, the layer will be visible, and if the column is empty, the layer will be hidden. In 3D mode, if the channel icon is bright, the channel will be visible, and if the channel icon appears slightly ‘greyed out’, the channel will be hidden.
Material Sub-Tab
Edit - Allows you to edit an existing material, through the Material Designer. Two-sided Indicator - This option shows whether the material is two-sided. Click to change. Export Indicator - This option shows whether the material is to be exported when File > Export > 3D Studio Max is selected. Click to change. Material Name - Double clicking brings up the Material Designer.
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Objects Sub-Tab
PALETTES
Object Visibility - Toggles the objects visibility. Object Name - Double click on an object name to bring up the Object Properties dialog.
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Lighting Tab PALETTES
The Lighting Tab gives you the controls you need to control the direction and strength of the lighting affecting your canvas. The images below show the tabs for the 2½D and 3D modes respectively.
Note: This section also applies to the Lighting Sub-Tab.
The Lock Light to Canvas check box, if checked, keeps the Spotlight in the same place relative to you when you rotate the canvas. With the option unchecked, the lights will rotate with the canvas. The ‘Reset’ button restores your lighting to the default. The Light Both Sides check box, if checked, lights both sides of all polygons equally.
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Spotlight
Angle -Use the text box to directly set your lighting angle.
PALETTES
Direction - Use the light icons that surround the globe to set the light direction, or click the globe itself to shine your spotlight directly at the canvas.
Custom - Tick the check box and enter your X and Y values into the text boxes. Position 0,0 is directly in the center of the screen. Positive X values, move the light to the right, while negative values move it to the left. Positive Y values, move the light up, while negative values move it down. Spot Slider - Sets the strength of the Spotlight. Move the slider to the right to increase the brightness of the light, and further to the left to decrease the brightness.
Ambient Ambient Slider - Sets the strength of the Ambient lighting. Ambient lighting is the background lighting that comes evenly from all directions. Move the slider to the right to increase the brightness of the light, and further to the left to decrease the brightness.
Tip: To create a flat look, set ambient to maximum and spot to minimum. For an extremely bumpy look, set ambient to minimum and spot to maximum.
Lighting Bookmarks Lighting Bookmarks allow you to save the lighting levels and positions as you work, for later use. Add - Allows you to create and name a new bookmark. Delete - Deletes the currently selected bookmark. Load - Restores your lighting to the currently selected bookmark.
Scene Sub-Tab This allows you to set the overall settings for the 3D mode.
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PALETTES Background Clear - Clears the current background image, if any, to no image. Browse - Allows you to select a background image. Color - Sets the background color to the current Foreground Color.
Render Levels Moving - The Color, Bump, Glow and Shininess check boxes allow you choose the level of detail displayed when moving your objects. Uncheck more boxes to speed up redraws. Still - The Color, Bump, Glow and Shininess check boxes allow you choose the level of detail displayed when painting your objects. Uncheck more boxes to speed up redraws. You can also click on the bronze spheres to cycle through the default settings. 130
Two-sided The Two-sided check box allows you to force Deep Paint 3D to treat polygons as Two Sided. If polygons appear to have disappeared, or appear around
Overview This chapter will help you get the most from Deep Paint 3D’s system of Presets.
PRESETS
CHAPTER FOUR: PRESETS
Presets hold combinations of Brushes and Paints for quick retrieval. They can be quickly and temporarily changed, or edited and saved for later use. Deep Paint 3D also allows you to organize your Presets into user-defined categories. The Presets Tab holds and controls your brush Presets, allowing you to save, delete and create new combinations of brushes and paints. The paints and brushes have been designed to look, feel and interact like their real world counterparts. Most features of a paint or brush are editable. You can customize existing presets to suit your needs, or design completely new ones. ·
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Deep Paint 3D has a comprehensive range of paint types including oil, watercolor, colored and charcoal pencils, felt pens and markers, chalks, pastels, gouache, acrylics, impasto and texture paints. Deep Paint 3D also contains a broad range of brush types including simple, bristle, airbrush and bitmap brushes. For dry and wet brush effects, a user-defined canvas can affect the brushes. You can easily edit and create new brushes, to make tools that can be saved for later use. All brushes have fully adjustable support for tablets with pressure, tilt angle and directional sensitivity for an artistic look and feel. Brushes dynamically scale, rotate and adjust canvas response based on your preferences. Presets can be shared from a central server to ensure consistency across a team of artists working on a single project.
Note: When experimenting with brushes and paints, the ‘Reset’ option restores the current brush to its last saved default.
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Procedures PRESETS
Choosing a Preset Select the category from the drop down list. Select the Preset by clicking on it.
Note: If you change the setting on a Preset, a ‘+’ sign will appear next to its name, to remind you that it has changed but has not been saved.
Saving a Preset Simply click on the Save button in the Presets Tab!
Creating a New Preset Select the Preset you want to base your new Preset on, and click on the New button in the Presets Tab. Customize the settings as you please, and simply click Save to keep your new Preset. These instructions are simple because the Preset system has been designed to be as accessible as possible. However, the Presets are capable of vast variety and subtlety. Please take the time explore the possibilities. See Tutorial Four: Presets for a complete step-by-step guide to creating and using Presets.
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Reference PRESETS
The Category Selector allows you to select the category of Preset to display. Alternately, you may choose to display ‘All’. The ‘Save’ and ‘Save As’ button perform the same actions as their counterparts described in the Presets Menu below.
Category Menu Add Category - Allows you to create a new category. Rename Category - Allows you to rename an existing category. Giving two categorys the same name merges them. Delete Category - Allows you to delete an existing category. Merge Preset Files - Allows you to combine preset files.
Presets Menu New - Creates a new preset in the current category, based on the currently selected Preset. Save - Allows you to save the currently selected Preset. Save As - Allows you to save the currently selected Preset with a new name. Save All - Allows you to save all your Presets. Edit - Allows you to edit the currently selected Preset. Reset - Resets the currently selected Preset to the default values. Change Category - Moves a Preset from one category to another. Delete - Deletes the currently selected Preset. Use with caution.
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CLONING
CHAPTER FIVE: ARTISTIC CLONING Overview Functionally similar to the Rubber Stamp Tool in Photoshop, artistic cloning offers the fastest way to create new and exciting content. By using artistic cloning techniques, existing photographic or other images can be transformed to create new and interesting media content with a whole new look. Photos can be quickly changed into rich oil paintings or delicate charcoals. They can range from close to photorealistic to extremely abstract. Almost any image, of any quality, can produce interesting and unique results. In fact, you may want to try experimenting with low quality source images. Using a combination of tracing and cloning, you can bring some of the original image back into the final result. Deep Paint 3D offers the following features and benefits: ·
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Using the familiar Photoshop layer concepts, you can change the transparency of any layer to trace or clone from layers below, creating new art from existing images or photos. Layers may be ‘dragged’ up or down to new positions. Deep Paint 3D offers more control over this process than any other method available to Photoshop users. Unlike ‘artistic’ filters that process the entire image, Deep Paint 3D allows you to determine the location, direction, depth, shininess, opacity and size of every brush stroke. From pencil and charcoal to impressionist effects, Deep Paint 3D allows artists to create more art in less time, and to mix media freely as they work. The artistic cloning process is fast and efficient, and is particularly useful when you need an image in a hurry, but can not compromise on quality. Depth can be easily and quickly added to otherwise flat images.
The artistic cloning method offers much more than merely copying an existing image. Refer to Tutorial Five: Cloning for more step-by-step instructions on how to get the most from the Clone Tool.
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Reference CLONING
Artistic Cloning - This option allows you to choose whether you will use Photographic Cloning, which clones without altering the image or Artistic Cloning, which lets you specify the type of paint and brush to clone with. Effect Reference - Allows you to choose which of the three cloning styles you will use. Hue - The default cloning method. Clones using the color or Hue of your source image. Saturation - Clones giving an embossed or etched look. Rub Through - Clones with the embossed or etched look of the Saturation method, combined with the color of the Hue method
Tip: A shortcut is to use the Clone Trace function, available either from the menu in the Elements Tab, or by selecting and then right clicking on the layer you wish to clone. The current layer becomes the Clone Source, and has the Opacity set to 30%. A layer is created above, and is selected as the current layer. This is a useful production tool for cloning.
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TEXTURE PAINT
CHAPTER SIX: TEXTURE PAINT Overview This chapter is the full technical reference for Deep Paint 3D’s most powerful and sophisticated paint, Texture Paint, which allows you to use images as paint. A Texture Paint may contain characteristics from any combination of channels, and most of the features can be made to change as you paint your images. · · ·
· ·
Texture paint can be used either to clone tiled images using the current brush, or to spray a sequence of images. You can control scale, hue, saturation, rotation, opacity and tile number. You can vary those settings randomly, or based on the number of dabs of paint, stylus pressure, or with the fingertip control wheel of the Wacom Intuos™ airbrush stylus. You can use Alpha channels to allow paint elements to build up in layers, for a 3-dimensional effect. You can define separate images for the texture paints Color, Bump, Shine, Glow, Opacity and Alpha channels.
Texture Paint is so customizable that choosing which options to apply to a Texture Paint can seem quite daunting. Don’t despair. If you complete Tutorial 6: Texture Paint before reading this chapter, you should find everything self-explanatory. The tutorial has been written to gently introduce you to Texture Paints many options, so please take the time to complete it before you try to apply the contents of this chapter.
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Reference
Behavior - Shows a preview image for a single dab, and holds some basic settings. Advanced Behavior - A sub-section of Behavior. It holds the largest number of settings. Textures - Shows a preview of an entire channel, and some basic tiling controls. Texture Channels - A sub-section of Textures. Allows you to set the images for each channel.
TEXTURE PAINT
The Paint Settings for Texture Paint are divided into four collapsable sections:
Behavior Dabs - This is the number of dabs in the stroke, affected by Repeat & PingPong. Repeat - When Repeat is selected, this tells the brush to continually repeat the dabs specified above. Ping Pong - This setting tells the brush to bounce or Ping Pong between values at either end of the stroke before repeating (if repeat is selected) or finishing. Set Start - This affects the starting value for the first dab, and for Clone Tile Paint when tiling, setting the origin of tiles using the start position of the stroke. It also affects changes with respect to dab number. If Set Start is not chosen, the dab number starts from wherever it left off on the last stroke, unless the last stroke reached its end in which case the dab number is always reset.
Advanced Behavior This section begins with five buttons labeled Base, Dab, Rand, Press, and Wheel. Below these buttons are a large number of sliders, beginning with Hue. The exact settings are unique to each button. For example, the Hue settings for Dab and Rand may be completely different. The buttons are the factors that can affect the stroke, whereas the sliders list what can be affected. For example, if the Hue setting under Press is not zero then pressure will affect the Hue. Base - This is the set of default values. When there are no changes to other settings this is the value for the duration of the stroke.
Note: When tiling, only the base scale/rotation settings are considered.
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TEXTURE PAINT
Dab - The Dab Settings control how the stroke changes from beginning to end. If no other factors are involved, the first dab of the stroke will determined by the base settings, and the final dab is determined by the Dab Settings. The settings made here represent the outside or scaling values for the end of a stroke, e.g. when Base scale is set to 2.0 and the Dab scale is set to 0.5 then the stroke will generate a smooth variation in scale between 2.0 at the start of the stroke and 1.0 at the end (2.0 x 0.5). Rand(om) - The settings made here represent the outside or scaling values for a random variation, e.g. when Base scale is set to 2.0 and the Rand scale is set to 0.5 then the stroke will randomly generate a variation in scale between 2.0 and 1.0. Press(ure) - The settings made here represent the outside values for a tablet stylus pressure variation, e.g. when Base scale is set to 2.0 and the Press scale is set to 0.5 then the stroke will generate a variation in scale between 2.0 when minimum pressure is applied and 1.0 for maximum pressure, depending on tablet stylus pressure. Wheel - The settings made here represent the outside values for a tablet stylus Wheel variation (this requires the Wacom Intuos Tablet with the optional Airbrush accessory) e.g. when Base scale is set to 2 and the Wheel scale is set to 0.5 then the stroke will generate a variation in scale between 2.0 and 1.0 depending on the wheel rotation.
The Settings The best way to understand these settings is to experiment. Try radical changes, and see how the settings interact with each other. For each of Base, Dab, Rand, Press and Wheel there are a range of possible settings that can affect the character of the stroke at any point. Below are examples of setting differences between the Base and Dab over nine dabs.
Note: When tiling or using as a paint, only the base scale/rotation settings are considered. Lock XY Saves the current XY ratio and (while selected) ignores values for Y. Also note that when unchecked, the values for Y suddenly take effect, i.e. the current ratio is not applied back.
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Hue - See the illustration below.
TEXTURE PAINT
Sat(uration) - See the illustration below.
Lum(inence) - See the illustration below.
Opacity - See the illustration below.
Tile No. - Allows you to select which tile will be painted. Rotate - See the illustration below.
Scale X + Y - See the illustration below.
Apply Defaults - Sets all the visible sliders in the Advanced Behavior section to their defaults (generally chosen to be ‘no effect’ values such as hue = 0 or scale X = 1) Use as Clone Tile Paint - Uses the current brush to clone from the current tile image. Reflect Tiles - Sets the cloning process to reflect the tiles at their boundaries. Every second tile (along x & y independently) is reflected along that axis so that adjacent tiles match end-to-end. Use as Image Spray - Sprays a sequence of images. 139
TEXTURE PAINT
Allow Tilt - Allows Tilt of Wacom tablet’s pen to affect projection. Imagine you are using a slide projector. Unlike airbrush, the centre stays fixed while the near edge of the projection is allowed to wander. Tile Snap - This rounds the current position to nearest tile position and only draws a dab when the current position changes. Ideal for tiling your bathroom floor. Align to Path - Rotates the tile dab to align with direction of pen movement.
Note: You have to drag the pointer some distance before the first dab is applied. Cycle Tile No. - This sets the dabs to be based on only the current tile selected and to cycle through all the tiles.
Note: Values of Tile Numbers that may have been set for other setting such as Pressure are ignored when Cycle Tile No. is selected. Spacing - This sets the amount of spacing between each dab, expressed as a percentage of tile width.
Textures This section shows you a preview of your texture, and the two edit boxes, horiz and vert, define how the image is divided into tiles. Clicking on the preview window will select a tile, updating the tile number. An exception is if Cycle Tile No. is selected and Base is not. In this case the Dabs slider is updated so that the selected tile becomes the last dab.
Texture Channels There are six channel images that can be set, although you may need to click on the ‘Texture Channels’ bar to see them. The buttons labelled by a channel name control which channel is currently previewed, e.g. Color, Bump, Alpha. The ‘File’ button opens the file requestor.
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Overview Deep Paint 3D is greatly enhanced by the use of a pressure sensitive digitizing tablet. In fact, some of Deep Paint 3D’s most expressive features use the changes in pressure, pen angle and speed of movement, in a way that is impossible to duplicate with a mouse.
TABLETS
CHAPTER SEVEN: TABLETS
This chapter does not provide setup information for the hardware, rather it provides information on the way Deep Paint 3D works with your hardware, and how you can use the two together. For troubleshooting information on the hardware or hardware setup please refer to the manuals that came with the piece of hardware you are trying to use.
Reference Graphics Tablets - Deep Paint 3D supports the use of Graphics Tablets, including the Wacom Intuos™ airbrush stylus with the fingertip control wheel. If your tablet is capable of sending Pressure Sensitivity data or Context Sensitivity data, Deep Paint 3D will process the information as follows: Pressure Sensitivity - When you use a Pressure Sensitive tablet Deep Paint 3D can process the pressure information as you paint and use it, for example, to define the Intensity of the color you are using at the time. This means that by pressing hard while you are painting, your paint will be opaque but if you press lightly your paint will be mostly transparent. For a full list of the variables that can be affected by Pressure Sensitivity, see the details concerning the tool you wish to use, as the specifics vary from tool to tool. Tilt, Rotation, Velocity - Deep Paint 3D supports far more than pressure sensitivity. Any of the variables above may be used to change the way many of the Deep Paint 3D tools respond, as you paint. The effect is to make working within Deep Paint 3D more akin to working in traditional media. Context Sensitivity - Many tablets provide Context Sensitivity, that is to say the stylus has a nib at one end and a different tool at the other. With these styluses, turning them upside down and painting produces a different effect from painting with them the right way up. Deep Paint 3D recognizes the current ‘context’ of the stylus. When you turn the stylus upside down it will act as if it were the Eraser Tool, using all the settings of the current Eraser. When you turn it the right way up again it will change back to the tool it was previously. Context Sensitivity works whenever you have the Brush Tool active.
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Wacom Features TABLETS
Airbrush The Basics - The Airbrush Tool makes use of tilt and direction exactly like a real airbrush. There are several different options for controlling airbrush height and paint flow using the Wacom Intuos airbrush stylus with fingertip control wheel (wheel) and tablet pressure. Tablet pressure and the wheel can each be used to control many features of the stroke including, but not limited to, hue, rotation, scale, and the tile image projected. In addition, a special option allows tablet tilt and direction to allow textured images to be projected at an angle, exactly like holding a slide projector at an angle to the screen.
Note: The Simple Brush uses pressure to control scale and transparency.
Artist Brush The Basics - The Artist Brush tool makes use of tilt, direction, and pressure to control any or all stroke parameters. You can use the stylus to dynamically adjust the transparency, hue, size or rotation of your brush. See Chapter 3: Palettes for complete details. 2-Handed support for Wacom Intuos - Be sure you have installed the most up-to-date Wacom driver. At the time of writing, this is version 4.3, available from the Wacom web-site: http://www.wacom.com Now, Configure your 4D-Mouse Place the 4D-Mouse on the tablet and wait for it to acknowledge that a new tool has been detected. From the start-menu, choose Settings and then open the Control-Panel. Select Wacom Tablet. Choose 4D Mouse. Choose ThumbWheel. Select ’Application Defined’ under ‘Thumbwheel Functions’. Click ‘OK’ to continue. Also a good idea is to set the mouse to map to the left hand side of the tablet and the stylus and airbrush tools to operate in the right hand side of the tablet are. This is done in the ‘Tablet Mapping’. 142 Your 4D Mouse is now ready to use.
Start with a blank tablet. Using the pen in your right hand, bring it in range of the tablet. Windows will now move the mouse cursor, indicating that the Pen is the Primary Controller.
TABLETS
The Basics - The Wacom tablet has a unique way of tracking two devices at the same time. It uses the notion of a primary and a secondary controller. Perhaps the best way to describe this is by way of example;
Keeping the pen in range of the tablet, with your left hand move the 4D Mouse onto the tablet. Because the 4D Mouse is the second device to enter the tablet, it now becomes the Secondary Controller. Notice how the Secondary Controller does not move the mouse cursor. Next, move the Pen away from the tablet, while keeping the mouse on the tablet. As long as at least one device is within range of the tablet, it will remember which is the Primary, and which is the Secondary Controller. Bring the Pen back on the tablet and you will find you can move the mouse cursor again.
Important! If at any time you remove both controllers from the tablet, it will forget which is the primary and which is the secondary - the next device to enter the tablet will be the primary controller. In Deep Paint 3D, we want the Pen to be the Primary controller and move the mouse cursor so that we can see where our next stroke will begin. It is important to get in the habit of always moving the pen into range before you move the 4D Mouse. Deep Paint 3D - Now you will use the two-handed interface for real. Start by launching Deep Paint 3D, and then load an image as normal. Hold the pen in your right hand, and move it onto the tablet. Be sure that the Windows Cursor is following your pen. With your pen still on the tablet, use your left hand to bring the mouse onto the tablet also.
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You can then:
TABLETS
Pan Press and hold the middle button to Pan your image.
Rotate Press and hold the left button on the mouse and move the mouse up and down to rotate your image.
Zoom Use the Thumbwheel forward and back to zoom the scene. There may be a sudden centering of the image in some cases. If you find you have lost your image, choose the Magnifying glass from the Tool Palette and click “Extents” from the options. We are currently working on support for individual pen recognition to enable different pens to be assigned to different tools.
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Overview Context menus appear when you right click in an appropriate area. They offer another way to quickly access the commands and functions you use most often. The headings below indicate the areas you should right click. All the functions are identical to their menu or tool counterparts.
CONTEXT MENUS
CHAPTER EIGHT EIGHT:: CONTEXT MENUS
Workspace The workspace is the grey area that surrounds your canvas. Right clicking anywhere on the workspace brings up the following menu:
Freehand Tool The Freehand tool draws using the currently selected brush and ink. Simply click and hold the left mouse button and move the mouse to draw, or press your pressure sensitive tablet with the stylus provided by your manufacturer. The Freehand tool is extremely simple and intuitive, just like drawing on a piece of paper or an object. For more information on the Freehand Tool, see Tutorial 1. You may also wish to refer to Chapter 6: Texture Paint.
Move > Rotate Rotates the Lights or the current Canvas.
Rotate Canvas - Rotates the current canvas or object. Rotate Lights - Rotates the scenes lights. Reset - This button resets the canvas to its default position. Note: To reset your lights after rotation, select the ‘Reset’ button in the Lighting Tab. You may also reset your canvas by double clicking. For more information on the Rotate Tool, see Tutorial 1. 145
Move > Pan
CONTEXT MENUS
Moves the current selection. The Along check boxes allow you to restrict movement to any single axis, or to allow movement in both the x and y-axis simultaneously.
Along X - When selected, this option allows movement in the X axis or ‘side to side’. Along Y - When selected, this option allows movement in the Y axis or ‘up and down’. Flip Horizontally - Select this button to flip the current selection horizontally. Flip Vertically - Select this button to flip the current selection vertically. You may reset your move by double clicking. For more information on Moving, see Tutorial 1.
Move > Zoom Moves your point of view closer or further away from the scene. To zoom in one step, click once over the area you wish to zoom in on, or ALT+Click to zoom out one step. To zoom on a particular area of an image, click and drag a marquee box until it contains everything you want to view. Deep Paint 3D then creates the best view based on your selection. To zoom dynamically, hold down SHIFT+drag up and down to zoom in and out respectively. Depending on the speed of your machine, and the complexity of the image, you should see the view update in real time. The following controls are available: Extents - Zooms until it shows the entire canvas. Factor - Shows the current zoom factor as a percentage. You change the current factor directly by typing a new amount into the text box. You may also select a zoom factor by clicking on the small triangle to the right of the text box. 146
You may reset your canvas by double clicking. For more information on Zooming, see Tutorial 1.
Canvas CONTEXT MENUS
Right clicking anywhere on the canvas brings up the following menu:
Freehand Tool The Freehand tool draws using the currently selected brush and ink. Simply click and hold the left mouse button and move the mouse to draw, or press your pressure sensitive tablet with the stylus provided by your manufacturer. The Freehand tool is extremely simple and intuitive, just like drawing on a piece of paper or object. For more information on the Freehand Tool, see Tutorial 1. You may also wish to refer to Chapter 6: Texture Paint.
Move > Rotate Rotates the Lights or the current Canvas.
Rotate Canvas - Rotates the current canvas. Rotate Lights - Rotates the scenes lights. Rotate Object - Rotates the object. Reset - This button resets the canvas to its default position. Note: To reset your lights after rotation, select the ‘Reset’ button in the Lighting Tab. You may also reset your canvas by double clicking. For more information on the Rotate Tool, see Tutorial 1. 147
Move > Pan
CONTEXT MENUS
Moves the current selection. The Along check boxes allow you to restrict movement to any single axis, or to allow movement in both the x and y-axis simultaneously.
Along X - When selected, this option allows movement in the X axis or ‘side to side’. Along Y - When selected, this option allows movement in the Y axis or ‘up and down’. You may reset your move by double clicking. For more information on Moving, see Tutorial 1.
Move > Zoom Moves your point of view closer or further away from the scene. To zoom in one step, click once over the area you wish to zoom in on, or ALT+Click to zoom out one step. To zoom on a particular area of an image, click and drag a marquee box until it contains everything you want to view. Deep Paint 3D then creates the best view based on your selection. To zoom dynamically, hold down SHIFT+drag up and down to zoom in and out respectively. Depending on the speed of your machine, and the complexity of the image, you should see the view update in real time. The following controls are available: Extents - Zooms until it shows the entire canvas. Factor - Shows the current zoom factor as a percentage. You change the current factor directly by typing a new amount into the text box. You may also select a zoom factor by clicking on the small triangle to the right of the text box. You may reset your canvas by double clicking. For more information on Zooming, see Tutorial 1.
Reset Rotation Resets the canvas rotation to the default. 148
Reset Pan
Default Zoom Resets the zoom factor to the default.
Zoom 100% Sets the current Zoom Factor to 100%.
CONTEXT MENUS
Resets the canvas pan position to the default.
Resize Canvas Brings up the Resize Canvas dialog. Type in the new dimensions to resize your canvas, or click ‘Cancel’ to exit the dialog without making any changes.
Flip Horizontal Flips the canvas horizontally.
Flip Vertical Flips the canvas vertically.
Drop Floater Drops the current floater into place.
Delete Floater Deletes the current floater.
Show Layers Flips the canvas horizontally.
Clear Layer Clears the current layer by deleting its entire contents. If the layer is the base layer, its color will be set to white. If it is not the base layer, it will be cleared to transparent.
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Object CONTEXT MENUS
Right clicking anywhere on the object brings up the following menu:
Freehand Tool The Freehand tool draws using the currently selected brush and ink. Simply click and hold the left mouse button and move the mouse to draw, or press your pressure sensitive tablet with the stylus provided by your manufacturer. The Freehand tool is extremely simple and intuitive, just like drawing on a piece of paper or an object. For more information on the Freehand Tool, see Tutorial 1. You may also wish to refer to Chapter 6: Texture Paint.
Move > Rotate Rotates the Lights or the current Canvas.
Rotate Canvas - Rotates the current canvas. Rotate Lights - Rotates the scenes lights. Rotate Object - Rotates the object. Reset - This button resets the canvas to its default position. Note: To reset your lights after rotation, select the ‘Reset’ button in the Lighting Tab. You may also reset your canvas by double clicking. For more information on the Rotate Tool, see Tutorial 1. 150
Hide
Hide Others Hides all other objects in the scene.
Show Layers Shows the Layers Sub-tab, within the Elements Tab.
CONTEXT MENUS
Hides the object.
Show Object Shows the Object Sub-tab, within the Elements Tab.
Show Materials Shows the Materials Sub-tab, within the Elements Tab.
Lock Material Locks the material.
Display Wireframe Overlays the object with a wireframe.
Wireframe Background Color Set the wireframe color to the color in the Background Color swatch.
Object Properties Brings up the object properties dialog box.
Material Properties Brings up the Material Designer.
Window Background > Assign Image Set the background to the bitmap image of your choice.
Window Background > Assign Color Set the background color to the color in the Foreground Color swatch.
Save Mask Saves the current Mask. 151
Load Mask
CONTEXT MENUS 152
Gives access to the Load Mask sub-menu.
Layer Name CONTEXT MENUS
This menu is functionally identical to the Layers Menu. Clicking on a layer’s name brings up the following menu:
Layer Properties Brings up the Layer Properties Dialog. Allows you to change the Layer Name and Layer Opacity. Also gives information on the resolution of the layer, and a list of the channels in the layer. Identical to double clicking the Layer Name.
Add Layer Above Add Layer Above puts a new blank layer immediately above the layer you right clicked.
Add Layer Below Add Layer Below puts a new blank layer immediately below the layer you right clicked.
Set Clone Source Sets the current layer as the source for the Clone Tool.
Clone Trace Quickly sets up an image for cloning. The current layer becomes the Clone Source, and has the Opacity set to 30%. A layer is created above, and is selected as the current layer, ready for cloning.
Duplicate Selected Makes a duplicate of the currently selected layer.
Merge Layer Down Merges the selected layer with the channel immediately below.
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Merge Visible
CONTEXT MENUS
Merges all visible layers into one. Visible layers can be quickly identified by the small eye icon.
Flatten Layers Flattens all your layers into one layer.
Clear Layer Clears the currently selected layer back to an empty and transparent state.
Delete Layer Deletes the current layer.
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Layer Workspace
Add Layer
CONTEXT MENUS
The layer workspace is the grey area that surrounds your canvas. Right clicking anywhere on the layer workspace brings up the following menu:
Adds a Layer Above, putting the new blank layer immediately above the current layer.
Merge All Merges all layers into a single layer.
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SHORTCUTS
KEYBO ARD SHOR T CUTS KEYBOARD SHORT Keyboard Shortcuts allow you access to commonly used menu options or other choices within Deep Paint 3D, without having to search through menus or dialog boxes. Learning these commands will significantly speed up your work within Deep Paint 3D. Wherever possible, Deep Paint 3D uses the same hotkeys as Photoshop.
File Menu New Open Save Print Exit
Ctrl + N Ctrl + O Ctrl + S Ctrl + P Alt + F4
Edit Menu Undo Redo Cut Copy Paste Edit Floater Mode
Ctrl + Z Ctrl + R Ctrl + X Ctrl + C Ctrl + V Ctrl + T
Selection Menu Select All Deselect All Select Inverse Move Selection Quick Mask Mode
Ctrl + A Ctrl + D Ctrl + Shift + I V + Move mouse or stylus Q
Selection Tools Add to Selection Subtract from Selection Rotate before Selecting Move before Selecting Angle Snap Line Drop Floater Delete Floater
Shift + Selection Tool Alt + Selection Tool Alt + Move mouse or stylus Ctrl + Move mouse or stylus Shift + Move mouse or stylus Enter Esc
Presets Palette Copy Preset 156
Ctrl + New
While Painting Ctrl + Move mouse or stylus up/down Ctrl + Move mouse or stylus left/right Shift + Move mouse or stylus up/down Shift + Move mouse or stylus left/right
Zoom Tool Zoom Zoom Out Zoom Extents Zoom Dynamic Zoom Sub-menu
SHORTCUTS
Brush Size Transparency Brush Aspect Brush Angle
Z or Ctrl + Space Alt + Click with Zoom Tool selected Double click with Zoom Tool selected Shift + Move mouse or stylus with Zoom Tool Right Click the Zoom Tool Icon
Tools Eraser Tool Freehand Tool Text Tool Fill Tool Clone Tool Eyedropper Tool Magic Wand Move Tool Line Tool Rotate Light Rotate Tool
E B T K S I or Alt + Click W V N L + Move mouse or stylus R + Move mouse or stylus
Color Palette Reset to default (black/white) Swap foreground/background
D X
Note: If you are currently selecting a foreground color with the Eyedropper Tool, and want to select a background color, hold down the ALT key and select your color as normal.
The Color Swatch Add Color Delete Color
Shift + Click Ctrl + Click
Gestures Undo Redo Color Palette Show/Hide Palettes/Menus
Right Click + Move mouse or stylus left Right Click + Move mouse or stylus right Right Click + Move mouse or stylus up Right Click + Move mouse or stylus down
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Channel Selection SHORTCUTS
Color Bump Shine Glow Opacity
1 2 3 4 5
Palettes Show/Hide Palettes Show/Hide Swatches Show/Hide Color Palette Presets Tab Paint & Brushes Tab Elements Tab Lighting Tab
TAB F3 F4 F5 F6 F7 F8
Rotate Tool Rotate Reset Rotate Rotate Sub-menu
R + Move mouse or stylus Double Click Right Click the Rotate Tool Icon
Pan Tool Pan Reset Pan
Space + Move mouse or stylus Double Click
LineTool Move Line/Polygon Rotate Line/Polygon Angle Snap Line/Polygon
Ctrl + Move mouse or stylus Alt + Move mouse or stylus Shift + Move mouse or stylus
Mastery of these Keyboard Shortcuts is the difference between an average user and a ‘Power User’. We strongly recommend you practice these hotkeys as they are explained in the tutorials, and whenever possible in your own projects.
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Overview - Working with Photoshop in 2½D mode Deep Paint 3D includes a companion plug-in for Photoshop. Although Deep Paint 3D may be used as a stand-alone program, it is designed to complement Photoshop by adding artistic tools to Photoshop’s powerful editing and image processing capabilities.
PHOTOSHOP
APPENDIX B: WORKING WITH PHO T OSHOP PHOT
Deep Paint 3D is complementary to Photoshop in the following ways: · · · · · ·
3D Materials can be passed to and from Photoshop in 3D mode. It uses the same hot keys as Photoshop wherever possible. It allows uninterrupted workflow between Photoshop and Deep Paint 3D. It uses the same layer concepts. There is no need to learn different layering systems. It supports Photoshop .ACO color swatches. It supports both RGB and CMYK images.
Photoshop’s Plug-ins have their own chapter in the Deep Paint 3D on-line manual, but for a complete guide to an individual plug-in, please refer to the documentation that came with it.
Note: It may be possible to use the Deep Paint 3D plug-in with other software that supports Photoshop plug-ins, but they have not been officially tested at this time. Please visit the Deep Paint 3D web site at: http://www.righthemisphere.com
for the latest updates regarding this issue.
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The Plug-in Manager: 2½D mode
PHOTOSHOP
The Plug-in Manager sits between Photoshop and Deep Paint 3D, and this Plug-in Manager must be open for your 2½D images to move between the two programs. You can set the Plug-in Manager to either Send Mode or Receive Mode images by using the large mode buttons near the center.
Procedures Basic Operation - 2½D mode Start Photoshop. Open an image, or create a blank canvas. Select Filter > Right Hemisphere > Image to Deep Paint 3D Select the small ‘Send’ button in the lower right corner. The currently active layer will appear in Deep Paint 3D. Develope your image using any of the many tools available. Select File > Export > Photoshop or click the button in Deep Paint 3D. The image appears in the plug-in manager, ready for your approval. Select ‘Okay’ in the plug-in manager. The image appears in Photoshop, complete with your changes. This simple procedure allows work to be continually passed between Photoshop and Deep Paint 3D.
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Reference
This mode is used to send your images from Photoshop to Deep Paint 3D. Send - Clicking on the smaller ‘Send’ button, in the lower right corner of the plug-in manager, sends the image to Deep Paint 3D ready to edit.
PHOTOSHOP
Send Mode - 2½D mode
Cancel - Clicking on the ‘Cancel’ button cancels the operation, and closes the plug-in manager.
Receive Mode - 2½D mode This mode allows you to bring images back into Photoshop from Deep Paint 3D. Preview - This window will show a preview of the image, to help you decide which of the following buttons to select. Fetch - Use this option to ‘force’ Photoshop to replace the current image in the plug-in manager with the current image in Deep Paint 3D 3D. The preview will update. Functionally similar to sending the image from Deep Paint 3D using File > Export > Photoshop. OK - Accepts the image currently ‘fetched’ and displayed in the preview window, and places it into Photoshop, ready for editing. It will also close the plug-in manager. Cancel - Rejects the image currently ‘fetched’ and closes the plug-in manager.
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Important! PHOTOSHOP 162
When Deep Paint 3D is used as a stand-alone program, it is able to import most common file formats. It can also save many formats including: AFX ASCII ATT AVI BMP BRK CALS CCITT Group CCITT Group III CCITT Group IV CLP CUT DCX DDB DIB EPS EXIF GX2 ICO IFF/ILBM IGF IMARA IMG-GEM IMG-Xerox IMT IOCA JFIF JPEG KFX Lossless JPEG LV MAC MO:DCA MSP NCR OS/2 BMP PBM PCD PCX PGM PICT PNG PPM
PHOTOSHOP
Progressive JPEG PSD SGI SUN TGA TIFF Winfax WMF WPG XBM XPM XWD
Note: The proprietary .dp2 and .dp3 formats will create a sub-directory, and store each channel in this directory as a .png file. This is the format we recommend you use for your 2D and 3D projects respectively. To save a file type that is listed here, but is not visible in the pull-down list in the Save dialog, simply type the extension, and Deep Paint 3D will automatically save your file in the correct format. For a comprehensive list of the available formats, please refer to the Open command in Chapter 2: Menus or visit Right Hemisphere at: http://www.righthemisphere.com
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PHOTOSHOP
Overview - 3D mode or Using Photoshop to edit Materials Deep Paint 3D can send materials from your 3D objects to Photoshop for editing.
Procedures Basic Operation - 3D mode Start Photoshop. Open a 3D object in Deep Paint 3D. Select a material from the Material Sub-Tab in the Elements Tab. Select File > Export > Material to Photoshop or click the button in Deep Paint 3D. Edit your material in Photoshop. Select Filter > Right Hemisphere > Material to Deep Paint 3D Material appears in Deep Paint 3D, complete with your changes. This simple procedure allows work to be continually passed between Photoshop and Deep Paint 3D.
Note: Deep Paint 3D will only send the current material from an object with multiple materials. Also, if you cannot see any Palettes in Photoshop, simply press the TAB key twice. Do not change the order or names of the layers in Photoshop, as Deep Paint 3D needs these to function correctly.
Reference Materials - 3D mode Deep Paint 3D will only send the current material from an object with multiple materials. Do not change the order or names of the layers in Photoshop, as Deep Paint 3D needs these to function correctly. Do not add new layers. If you cannot see any Palettes in Photoshop, simply press the TAB key twice. The Layers will appear in Photoshop in the order they appeared in Deep Paint 3D. Transparency will be preserved.
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The links between Deep Paint 3D and 3D Studio MAX are designed to be as seamless as possible. It is very easy to import an object for painting, and just as easy to send the changes back to MAX. However, the depth of detail provided by the Materials Editor in 3D Studio MAX is such that once you are familiar with the basic steps involved in importing an object for painting you can start to apply more complex Materials for import.
3D STUDIO MAX
APPENDIX C: WORKING WITH 3D STUDIO MAX
Basic Steps To import an object for painting at its most basic level you can follow these steps: Create the object in 3D Studio MAX Apply a Material and mapping coordinates. Select the ‘Utilities’ control panel in MAX. Select the ‘More’ button. From the list of utilities select ‘Deep Paint 3D’. Select the object or objects you wish to paint. Press ‘Paint’.
Note: It is possible to add Deep Paint 3D to the permanent list of utilities. Refer to the documentation that shipped with MAX for more details. After you have applied your mapping and Materials to your objects, select the objects you wish to paint, and launch Deep Paint 3D as described above. Deep Paint 3D will start, and after a brief pause, the Material Import dialog will appear. Click ‘OK’.
Assigning Materials If you have not assigned a Material to the object you must to do so before you attempt to paint the object. In some cases you may want an object in the scene that is not paintable, possibly as an aid to positioning. This is the only case in which you will bring an object into Deep Paint 3D without a Material applied. The object will import but it will remain unpaintable. You can import any type of Material that does not have a Procedural element. For example a Material with multiple sub objects can be imported as long as those sub objects contain either bitmaps or standard diffuse color. Remem-
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ber however, that if you haven’t assigned a Material to the sub object, it will not be paintable.
Caution: If two or more objects or sub objects have the same material/ bitmap applied in MAX, and you export them to Deep Paint 3D, everything you paint on one object or sub object will appear on the other. Be sure this effect is acceptable to you, or always assign different materials/bitmaps to different objects. Also, if materials share a bitmap, and you choose to Replace Old Bitmaps, all but one will be overwritten. You may also specify which Materials will be exported by clicking on the Export button in the Materials Sub-Tab of the Elements Tab shown below.
When the button is highlighted, as above, the material will be exported. When the button is ‘greyed out’, the material will not be exported. We also recommend avoiding tiled textures as tiling should be done as part of the 3D painting process.
Importing Materials If the Material you are trying to import has one bitmap assigned to it and Deep Paint 3D is able to locate that bitmap the object should appear in Deep Paint 3D without any fuss. However, previously assigned Materials can have more than one bitmap. For example, a Material we are trying to import might have a Color Map and a Bump Map. Deep Paint 3D requires that all the bitmaps that are assigned to a Material are of the same size. If you try to import a Material that has bitmaps of different sizes assigned to it, Deep Paint 3D will automatically resize the images for you. The first channel loaded determines the size of any remaining maps. As the first channel is usually the Color channel, any Bump, Glow, Shininess or Opacity maps are usually resized to the size of the Color map. Deep Paint 3D will not warn you before making any changes to map size.
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If Deep Paint 3D cannot find a bitmap referenced in a Material in the file a message appears asking if you wish to locate the bitmap manually. If you choose to do so a standard file browser will appear and you can locate the image requested or another image that will be imported instead.
Timeline
3D STUDIO MAX
If you are importing a .3ds file and the bitmaps referenced in Materials in that file are not present in a directory pointed to by your Map Paths preferences you will also be prompted to locate the file. If you choose to and find the bitmap Deep Paint 3D will offer you the chance to add the directory that bitmap is in to your Map Paths so that you don’t have to look for it in the future.
Deep Paint 3D has been designed to take advantage of the animation facilities available in 3D Studio MAX. When you import an object from MAX Deep Paint 3D receives the geometry as it is at that point in time. For example, if a sphere has had a ‘Bomb’ spacewarp applied to it in MAX and you import it for painting half way through the explosion, the geometry that appears in Deep Paint 3D will be exploded. Similarly if you have an animated Twist modifier applied to a cylinder you can import the cylinder for painting at any point in its twist and the geometry visible in Deep Paint 3D will be correct. To do this all you need to do is set the current frame in MAX to the frame at which you wish to import the geometry and then select the object to import and press the ‘Paint’ button to import in to Deep Paint 3D.
Exporting To 3D Studio MAX When you have finished editing an object that was imported from 3D Studio MAX you can send the changes you made back by selecting File > Export > 3ds Studio MAX, or you can send your material to Photoshop for further editing with File > Export > Material -> Photoshop. You may also use the
MAX Out button.
This is the dialogue that will appear when exporting to MAX.
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Note: Deep Paint 3D will only send materials to MAX that have been selected for export in the Material section of the Elements Palette. Please refer to the Elements Palette in Chapter 3: Palettes for more information. Note: When exporting Materials to Photoshop, and you have an existing material already open in Photoshop, Deep Paint 3D will give you the option to overwrite the current material or cancel the procedure. Please refer to the Elements Palette in Chapter 3: Palettes for more information.
Method The Method group controls the way that Deep Paint 3D will save the bitmaps it generates. Overwrite Old Bitmaps - This option will replace the existing bitmaps. For all the Map Types you have in each Material, saves them to disk and automatically updates the Material in 3D Studio MAX to point to the new bitmaps. As this method can be potentially destructive, you should be careful as to when you apply it. Generate New Bitmaps - This method creates new bitmaps for all the Map Types you have in each Material, saves them to disk and automatically updates the Material in 3D Studio MAX to point to the new bitmaps. As this creates entirely new bitmaps, you will need to enter a new name in the Prefix text box. This can be useful if you are using bitmaps in a Material that you may want to use again and do not want to overwrite. See New Bitmap Names later in this chapter. Backup Existing File - With this enabled any existing files will receive a suffix of _bak, rather than being copied over. We recommend you use Generate New Bitmaps. Also see the following entry, Auto. The bitmaps that are created using the Generate methods are named by Deep Paint 3D to save time. If you wish to rename them manually, remember to adjust the Material in 3D Studio MAX so that it points to the correct bitmap. The first part of the name is the Material number.
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The next two letters define which Map Type the bitmap is for. These are as follows: cl: Color bm: Bump si: Self Illumination op: Opacity sh: Shininess
Auto Please leave this option enabled. With this option enabled, Deep Paint 3D will automatically replace any currently existing bitmaps, and generate new bitmaps if they do not already exist. The bitmaps will be saved into the same directory as any original bitmaps.
3D STUDIO MAX
If you wish to add a prefix on to the name of the bitmap to make it easier to locate you can enter the string in the Prefix edit box. If for example you enter ‘head’ in the Prefix box the color map will be saved under the name ‘headm1cl.tga’.
File Type Choose a file format from the drop-down list. Any new maps generated will use the format chosen. Available options at this time are: .bmp .jpg .tif We recommend you use .tif at this point in time.
Note: If you are replacing existing files, this becomes largely irrelevant, except in the case of .tga files. MAX currently has problems loading and using .tga files. We strongly recommend changing the format of any .tga files to one of the supported file formats listed above.
New Bitmap Names If you want your map names to be meaningful to you, and easy to recognize, give some thought to the names you choose for your maps. Prefix - Type in the prefix you will use to uniquely identify your images, for example, ‘RedCar’. Try to make them short but meaningful.
Default Target Directory Here you set the Target Directory, the place your maps will be saved to. Clear - This clears the Target Directory. Browse - Lets you choose a directory from a file requestor. Try to create the directories you need before you start Deep Paint 3D.
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Send
3D STUDIO MAX
Click here to save your maps and pass them back to MAX. The Material Editor in MAX will update to reflect any changes you have made. One of the more efficient ways of working is to have Deep Paint 3D and MAX open at the same time. They can be continually updating each other as you swap between the two. This is particularly useful if you are painting Opacity maps, as Deep Paint 3D cannot currently render them. Jumping between the two programs lets you render your progress in MAX.
Tip: Paint your Opacity map the easy way. Since you can’t see the effect of your Opacity map as you paint it, create a New Layer Above, and create a new color channel. Paint your Opacity map by using shades of grey, and drag the completed map from the Color Channel to the Opacity Channel in your original layer. Lastly, Delete the layer you added. This method can be useful for painting other channels also. Tip: When you import your Opacity map to MAX, it will default to the transparent effect of glass, including specular highlights. This effect can be quickly improved by copying the bitmap in the Opacity slot to the Specularity slot in the Material Editor.
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Please note, the information in this section is written specifically for Maya 2.0.
MAYA
APPENDIX D: MA YA MAY Installation If you installed the optional Maya 2.0 plugin with your DeepPaint 3D installation, then proceed to Loading.
Manual Installation Ensure Maya is not running. Locate the [Insert Appropriate directory] from your DeepPaint 3D CD-ROM. Copy the “deeppaint3d.mll” file to your “Maya2.0\bin\plug-ins” directory Copythe “DeepPaint3D.mel” file to your “Maya2.0/scripts” directory.
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Installing the Menu
MAYA
Launch Maya. From the “Window” Menu, select “General Editors”, and then “Plug-in Manager”. Click the “loaded” toggle, next to “deeppaint3d.mll”. Click the “auto load” toggle if you want the Deep Paint exporter to automatically load each time that Maya starts. A “Deep Paint 3D” menu item should now appear in your main Menu Bar.
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Basic Steps MAYA
Load an object into Maya. Use the Selection tool.
Select by Components:
Sending Use the “Launch Deep Paint 3D” option, then use “Export Selection” to transfer your objects from Maya to Deep Paint 3D.
Retreiving When you have finished, use the Import Bitmaps or Save All Maps from DeepPaint 3D to return your Bitmaps to Maya.
IMPORTANT! DeepPaint 3D will only paint on polygonal models. If you have NURBS surfaces, use the “NURBS to Polygons” operator in the “Edit Surfaces” menu.
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SOFTIMAGE
APPENDIX E: SOFTIMAGE Overview Deep Paint 3D will allow SoftImage users to easily edit the materials on their objects by loading the object directly into Deep Paint 3D. A SoftImage plug-in is currently under developement.
Basic Steps Apply Material/Mapping in SoftImage. Start Deep Paint 3D. Use File > Open within Deep Paint to load your .obj file. Paint on your object. Use Save or Save As to update your bitmaps. Load your .obj back into SoftImage. You will need to manually assign any new maps created within Deep Paint 3D as appropriate within SoftImage.
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Overview Deep Paint 3D will allow Lightwaveusers to easily edit the materials on their objects by loading the object directly into Deep Paint 3D for painting. The bitmaps can then be saved to the hard drive, and loaded and assigned in Lightwave in the usual manner.
LIGHTWAVE 3D
APPENDIX F: LIGHTW AVE LIGHTWA
Basic Steps Apply Material/Mapping in SoftImage. Start Deep Paint 3D. Use File > Open within Deep Paint to load your .lwo file. Paint on your object. Use Save or Save As to update your bitmaps. Load your .lwo back into Lightwave. You will need to manually assign any new maps created within Deep Paint 3D as appropriate within Lightwave.
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PLUG-INS
APPENDIX G: PHO T OSHOP PHOT PL UG-INS PLUG-INS Overview From any 2D or 2½D window you can take full advantage of Photoshop compatible plug-ins from within Deep Paint 3D, affecting the color, thickness and shininess of your paint.
Note: Not all Photoshop plug-ins are supported. For a list of currently supported plug-ins, please refer to the support area of the Deep Paint 3D web site at: http://www.righthemisphere.com For a complete guide to an individual plug-in, please refer to the documentation that came with it.
Procedures Setting up plug-ins Start Deep Paint 3D. Select File > Preferences > Directories.
Select the ‘Browse’ button, and point to your Photoshop plug-ins directory. Restart Deep Paint 3D
Using Photoshop plug-ins Start Deep Paint 3D. Open an image, or transfer one from Photoshop. Select Filter > Render > Difference Clouds Select the channels; color, bump and/or shine. Click Okay
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FAQs
APPENDIX H: FREQ UENTL Y ASKED FREQUENTL UENTLY QUESTIONS Overview For the latest FAQ visit Right Hemisphere at: http://www.righthemisphere.com/
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