Deep Paint 3D ™ Copyright © 1998-1999 Right Hemisphere Limited.ALL RIGHTS RESERVED. BY INSTALLING OR USING THIS SOFTWAREPRODUCT, YOU AGREE TO BE BOUND BY THE CONDITIONS OF THISLICENSE AGREEMENT.

The Deep Paint 3D™ software product is protected by copyright laws andinternational copyright treaties, as well as other intellectual property laws andtreaties. The software product is licensed not sold. The software applicationand this reference manual are licensed “as is” and without warranties as toperformance or merchantability. The software application is licensed withoutexpress or implied warranties whatsoever. Because of the diversity of condi-tions and hardware under which this program may be used, no warranty offitness for a particular purpose is offered. The user is advised to test theapplication thoroughly before relying on it. The user must assume the entirerisk of using the program. Any liability of seller or manufacturer will belimited exclusively to the product replacement or refund of the purchase price.Information contained within this publication is subject to change withoutnotice.

Trademarks and ProductsDeep Paint 3D™ is a trademark of Right Hemisphere Ltd. Microsoft, MS,Windows, Windows 95, Window 98, Windows NT are registered trademarksof Microsoft Corporation. Photoshop is a registered trademark of AdobeSystems Incorporated. Wacom and Intuos are trademarks of Wacom Co.Ltd. All brand names or trademarks belong to their respective holders. Thesoftware application and reference manual that comprise Deep Paint 3D™ arethe confidential property of Right Hemisphere Ltd. and cannot be reproducedin any form, for any purpose without the written permission of Right Hemi-sphere Limited.

LICENSED FOR USE ON A SINGLE COMPUTER AND IS NOTTRANSFERABLE

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CONTENTSCONTENTSCONTENTSCONTENTSCONTENTS

8 Welcome8 Welcome to Deep Paint 3D!8 What the product and tutorials are all about9 Introduction9 Overview9 Terms9 System requirements10 Installing Deep Paint 3D10 Documentation10 Important!11 Important!11 Where do I start?

12 Getting Started Guide12 Overview

13 Getting Started with Photoshop13 Overview - Working with Photoshop15 Procedures16 Reference17 Important!

20 Getting started with 3d Studio Max20 Basic Steps20 Assigning Materials21 Importing Previously Assigned Materials21 Locating A Bitmap21 Timeline21 Exporting To 3D Studio Max

25 Getting Started With Maya25 Installation26 Basic Steps

27 Getting Started with SoftImage27 Overview27 Basic Steps

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28 Getting Started with Lightwave28 Overview28 Basic Steps

29 Getting Started with Lighting and Paint Depth29 Overview30 Procedures

38 Getting Started with Cloning38 Overview39 Procedures

53 Getting Started with Texture Paint53 Overview54 Procedures

59 Getting Started with the Airbrush59 Overview60 Procedures

62 Getting Started with Presets62 Overview63 Procedures

64 Getting Started with Brushes64 Overview64 Procedures

68 Getting Started with Photoshop Plug-ins68 Overview69 Procedures

70 Chapter One: The Interface70 Overview71 The Menus72 Palettes77 Command Panel

81 Chapter Two: Menus81 Overview81 File Menu

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87 Edit Menu89 Selection Menu90 Filter Menu92 View Menu93 Windows Menu94 Help Menu

95 Chapter Three: Palettes95 Overview95 Tool Palette106 Color Palette108 Color Swatches109 Options Palette110 Material Import Palette111 Command Panel112 Presets Tab114 Brushes & Paints Tab123 Elements Tab128 Lighting Tab129 Scene Sub-Tab

131 Chapter Four: Presets131 Overview132 Procedures133 Reference

134 Chapter Five: Artistic Cloning134 Overview135 Reference

136 Chapter Six: Texture Paint136 Overview137 Reference

141 Chapter Seven: Tablets141 Overview141 Reference142 Wacom Features

145 Chapter Eight: Context Menus145 Overview

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145 Workspace147 Canvas150 Object153 Layer Name155 Layer Workspace156 Keyboard Shortcuts156 File Menu156 Edit Menu156 Selection Menu156 Selection Tools156 Presets Palette157 While Painting157 Zoom Tool157 Tools157 Color Palette157 The Color Swatch157 Gestures158 Channel Selection158 Palettes158 Rotate Tool158 Pan Tool158 LineTool

159 Appendix B: Working with Photoshop159 Overview - Working with Photoshop in 2½D mode160 Procedures161 Reference162 Important!164 Overview - 3D mode or Using Photoshop to editMaterials164 Procedures164 Reference

165 Appendix C: Working with 3d Studio Max165 Basic Steps165 Assigning Materials166 Importing Materials166 Locating A Bitmap167 Timeline167 Exporting To 3D Studio Max

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171 Appendix D: Maya171 Installation173 Basic Steps

174 Appendix E: SoftImage174 Overview174 Basic Steps

175 Appendix F: Lightwave175 Overview175 Basic Steps

176 Appendix G: Photoshop Plug-ins176 Overview176 Procedures

177 Appendix H: Frequently Asked Questions177 Overview

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8

WELCOMEWELCOMEWELCOMEWELCOMEWELCOME

Welcome to Deep Paint 3D!

Welcome to Deep Paint 3D, the simple and powerful way to bring your3D work to life. You have all the traditional artists’ tools, some specialnew tools, and the ability to create and save your own.

This manual contains all the information you need to make the most ofDeep Paint 3D. We recommend that you learn the program throughthe Getting Started Guide at the beginning of this manual, followed bythe Tutorials. Then use this manual and the On-line Help to answerany 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 environ-ment for painting 3D models, and to complement Photoshop with anartistic set of painting tools. Our aim is to provide a simple, intuitiveand painless process to create stunning art.

We have provided the Getting Started Guide and Tutorials, to bring youup to speed as quickly as possible.

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INTRODUCTIONINTRODUCTIONINTRODUCTIONINTRODUCTIONINTRODUCTION

Overview

This introduction contains all the information you need to start learning andusing Deep Paint 3D.

Note: The interface shown may differ slightly from the version you have, butit is the most recent version at the time of writing.

Terms

Menu > Sub-menuMenu and Sub-menu choices are separated by the ‘greater than’ sign, as inthe example, View > Palettes .

Commands/ToolsAll commands and tools are displayed in bold typeface.

Tutorial InstructionsAll 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 renderingsystem, 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 CPUtechnology.

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Installing Deep Paint 3D

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 tousing Deep Paint 3D. The Manual is available in both printedand Adobe Acrobat PDF format. A shortcut to the Manual is createdduring installation. The Acrobat Reader program can be installedfrom the Deep Paint 3D CD-ROM. Alternately, the latest version canbe 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 alsoavailable in both printed and Adobe PDF format. A shortcut to theTutorials is created during installation.

· Online Help System - pressing the F1 key from within Deep Paint 3Dgives you access to the context sensitive help system.

· FAQs - the most ‘Frequently Asked Questions’. The current versionat the time of writing is included in the back of this guide. As thislist is being constantly updated, the latest FAQs may be obtainedfrom 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:

· 2D - this mode is used to show you a 3D bitmap ‘unwrapped’ from theobject.

· 2½D - this mode is an enhanced 2D mode, where you work as if on atraditional canvas, with the ability to use bump and shininess, and tohave the paint interact. The differance will be clear when you havecompleted this guide. For now, just note that there is a distinctadvantage to using 2½D, over traditional 2D modes.

· 3D - this mode is active whenever you have a 3D model loaded.

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Important!

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 isnot using the ‘Large’ or custom font settings.

Where do I start?

To begin using Deep Paint 3D now, we suggest you read the section in thismanual entitled ‘Getting Started Guide’, then ‘The Interface’ , and lastly startthe On-line Tutorials. This approach will you show every major feature ofDeep Paint 3D quickly and painlessly. At the beginning of each tutorial is theestimated time to complete the lesson and an explanation of exactly whatyou will learn. If you are new to Deep Paint 3D, the tutorials should becompleted in the order they are presented.

All users will find Appendix A: Shortcuts useful. It contains a complete list ofall the Hot Keys or keyboard shortcuts. Chapter 8: Context Menus will alsoprove useful.

This manual is intended both as a quick start and technical reference to DeepPaint 3D. You will find the answer to most questions you may have aboutusing 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 on-line help. The On-line Help is context sensitive, and is a great way to auto-matically narrow your search.

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GETTING STGETTING STGETTING STGETTING STGETTING STARARARARARTED GUIDETED GUIDETED GUIDETED GUIDETED GUIDE

Overview

This section will allow you to quickly begin using Deep Paint 3D, by introduc-ing 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 manualand tutorials, or make use of the online help.

Although Deep Paint 3D may be used as a stand-alone program, in 2½Dmode, Deep Paint 3D complements Photoshop by adding artistic tools toPhotoshop’s powerful editing capabilities.

In 3D mode, Deep Paint 3D can still take advantage of the great features inPhotoshop, but it also offers exciting and powerful ways of working directlywith your 3D application.

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GETTING STGETTING STGETTING STGETTING STGETTING STARARARARARTED TED TED TED TED WITHWITHWITHWITHWITHPHOPHOPHOPHOPHOTTTTTOSHOPOSHOPOSHOPOSHOPOSHOP

Overview - Working with Photoshop

Deep Paint 3D includes a companion plug-in for Photoshop. Although DeepPaint 3D may be used as a stand-alone program, it is designed to comple-ment Photoshop by adding artistic tools to Photoshop’s powerful editing andimage processing capabilities.

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 anindividual 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 soft-ware that supports Photoshop plug-ins, but they have not been officiallytested 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

The Plug-in Manager sits between Photoshop and Deep Paint 3D, and thisPlug-in Manager must be open for your 2½D images to move between the twoprograms. You can set the Plug-in Manager to either Send Mode or ReceiveMode images by using the large mode buttons near the center.

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Procedures

Basic Operation - 2½D mode

Start Photoshop.Open an image, or create a blank canvas.Select Filter > Right Hemisphere > Image to Deep Paint 3DSelect 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.

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 betweenPhotoshop 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 inDeep Paint 3D.Edit your material in Photoshop.Select Filter > Right Hemisphere > Material to Deep Paint 3DMaterial appears in Deep Paint 3D, complete with your changes.

This simple procedure allows work to be continually passed betweenPhotoshop and Deep Paint 3D.

Note: Deep Paint 3D will only send the current material from an object withmultiple materials. Also, if you cannot see any Palettes in Photoshop, simplypress the TAB key twice. Do not change the order or names of the layers inPhotoshop, as Deep Paint 3D needs these to function correctly.

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Reference

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 rightcorner of the plug-in manager, sends the image to Deep Paint 3Dready to edit.

Cancel - Clicking on the ‘Cancel’ button cancels theoperation, and closes the plug-in manager.

Receive Mode - 2½D mode

This mode allows you to bring images back into Photoshop from Deep Paint3D.

Preview - This window will show a preview of the image, to help youdecide which of the following buttons to select.

Fetch - Use this option to ‘force’ Photoshop to replace the currentimage in the plug-in manager with the current image in Deep Paint 3D3D. The preview will update. Functionally similar to sending theimage from Deep Paint 3D using File > Export > Photoshop .

Okay - Accepts the image currently ‘fetched’ and displayed in thepreview window, and places it into Photoshop, ready for editing. It willalso close the plug-in manager.

Cancel - Rejects the image currently ‘fetched’ and closes the plug-inmanager.

Materials - 3D mode

Deep Paint 3D will only send the current material from an object with multiplematerials. Do not change the order or names of the layers in Photoshop, asDeep 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 keytwice.

The Layers will appear in Photoshop in the order they appeared in Deep Paint3D. Transparency will br preserved.

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Important!

Working with Large Images in Deep Paint 3D

When working with large images there are a couple of issues that need to beconsidered.

One of the truly unique aspects of Deep Paint 3D is that unlike traditionaldigital paint systems, the paint is treated as a material application processrather than a coloring process.

Deep Paint 3D calculates, processes and renders in 3D with every stroke, allthe true material characteristics of paint, such as viscosity, thickness andshininess, as well as color.

For this reason Deep Paint 3D requires the greater processing power oftoday’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, asa consequence, uses three times the RAM and needs a lot more processingpower than traditional paint systems.

Working with large images in Deep Paint 3D therefore requires an appropriateamount of processing power and RAM. The following are the recommendedRAM requirements to work effectively with larger images within Deep Paint3D:

Image Size (pixels) Recommended RAM1500 x 1500 64MB2000 x 2000 128MB3000 x 3000 256MB4200 x 4200 512MB6000 x 6000 1GB

Note: These figures are for stand-alone operation of Deep Paint 3D. Whenoperating in conjunction with Photoshop, take 25% off each pixel value.

However, due to the inherently random and somewhat arbitrary nature ofnatural paint, it is possible to work at pixel resolutions 2-3 times lower thanthe final output resolution required. The image can be scaled up later to ahigher dpi without noticeable loss of quality.

For example: A 1000x1000 image can acceptably be re-scaled to 2000x2000for final production use. This therefore reduces the amount of RAM requiredfor the system.

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Remember pixels = dots. So a 10" x 10" image at 150 dpi = 1500 x 1500pixels. At 300 DPI it is 3000 X 3000. We recommend re-scaling inPhotoshop using the Image > Resize for best results. Please note that thisis 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 ownuse, and this RAM is not released when running Deep Paint 3D through thePlug-in Manager.

A suggested solution if you require additional RAM in order to run Deep Paint3D , is to flatten and save the Photoshop image you wish to manipulate, closePhotoshop and then open the image in Deep Paint 3D.

With Deep Paint 3D running in a stand-alone mode you will then have addi-tional RAM at your disposal.

When Deep Paint 3D is used as a stand-alone program, it is able to importmost common file formats. It can also save many formats including:

AFXASCIIATTAVIBMPBRKCALSCCITT GroupCCITT Group IIICCITT Group IVCLPCUTDCXDDBDIBEPSEXIFGX2ICOIFF/ILBMIGFIMARAIMG-GEMIMG-XeroxIMTIOCAJFIFJPEGKFX

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STARTEDLossless JPEGLVMACMO:DCAMSPNCROS/2 BMPPBMPCDPCXPGMPICTPNGPPMProgressive JPEGPSDSGISUNTGATIFFWinfaxWMFWPGXBMXPMXWD

Note: The proprietary .dp2 and .dp3 formats will create a sub-directory, andstore each channel in this directory. This is the format we recommend youuse 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 inthe Save dialog, simply type the extension, and Deep Paint 3D will automati-cally save your file in the correct format.

For a comprehensive list of the available formats, please refer to the Opencommand in Chapter 2: Menus or visit Right Hemisphere at:

http://www.righthemisphere.com

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GETTING STGETTING STGETTING STGETTING STGETTING STARARARARARTED TED TED TED TED WITH 3DWITH 3DWITH 3DWITH 3DWITH 3DSTUDIO MAXSTUDIO MAXSTUDIO MAXSTUDIO MAXSTUDIO MAXThe links between Deep Paint 3D and 3D Studio MAX are designed to be asseamless as possible. It is very easy to import an object for painting, andjust as easy to send the changes back to MAX.

However, the depth of detail provided by the Materials Editor in 3D Studio MAXis such that once you are familiar with the basic steps involved in importing anobject 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 thesesteps:

Create the object in 3D Studio MAXApply 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 theobjects 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 willappear.

Click ‘OK’ .

Assigning Materials

You will have to assign a Material to any object you want to paint. In somecases you may want an object in the scene that is not paintable, and this isis the only time you will deliberately bring an object into Deep Paint 3Dwithout a Material applied. The object will still import, but it you will not beable to paint on it.

You can import any type of Material that isn’t Procedural. For example aMaterial with multiple sub objects can be imported as long as those subobjects contain either bitmaps or standard diffuse color. Don’t forget, if youhaven’t assigned a Material to the sub object, it will not be paintable!

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STARTEDCaution: 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 youpaint on one object or sub object will appear on the other!

Importing Previously Assigned Materials

Deep Paint 3D requires that all the bitmaps that are assigned to a Materialare the same size. If you try to import a Material that has bitmaps of differentsizes assigned to it, Deep Paint 3D will automatically resize the images foryou. The first channel loaded determines the size of any remaining maps.As the first channel is usually the Color channel, any Bump, Glow, Shininessor Opacity maps are usually resized to the size of the Color map.

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 3Dwill let you find it manually. You can then locate the image or another imageto be used in it’s place.

If you are importing a .3ds file and Deep Paint 3D cannot find the bitmaps inthe Materials in that file, you will also be prompted to locate the file. If youchoose to find the bitmap Deep Paint 3D will offer you the chance to add thedirectory that bitmap is in to your Map Paths so that you don’t have to look forit again.

Timeline

Deep Paint 3D has been designed to take advantage of the animation facilitiesavailable in 3D Studio MAX. When you import an object from MAX DeepPaint 3D receives the geometry as it is at that point in time. For example, if asphere has had a ‘Bomb’ spacewarp applied to it in MAX and you import it forpainting half way through the explosion, the geometry that appears in DeepPaint 3D will be exploded. Similarly if you have an animated Twist modifierapplied to a cylinder you can import the cylinder for painting at any point in itstwist 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 atwhich you wish to import the geometry and then select the object to importand 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 StudioMAX you can send the changes you made back by selecting File > Export >3ds Studio MAX , or you can send your material to Photoshop for furtherediting with File > Export > Material -> Photoshop .

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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 selectedfor export in the Material section of the Elements Palette. Please refer to theElements Palette in Chapter 3: Palettes for more information.

Method

The Method group controls the way that Deep Paint 3D will save the bitmapsit generates.

Overwrite Old Bitmaps - This option will replace the existingbitmaps. For all the Map Types you have in each Material,saves them to disk and automatically updates the Materialin 3D Studio MAX to point to the new bitmaps. As thismethod can be potentially destructive, you should becareful as to when you apply it.

Generate New Bitmaps - This method creates new bitmapsfor all the Map Types you have in each Material, savesthem to disk and automatically updates the Material in 3DStudio MAX to point to the new bitmaps. As this createsentirely new bitmaps, you will need to enter a new name inthe Prefix text box. This can be useful if you are usingbitmaps in a Material that you may want to use again anddo not want to overwrite. See New Bitmap Names later inthis chapter.

Backup Existing File - With this enabled any existing fileswill receive a suffix of _bak, rather than being copied over.

We recommend you use Generate New Bitmaps. Also see the followingentry, Auto.

The bitmaps that are created using the Generate methods are named byDeep Paint 3D to save time. If you wish to rename them manually, rememberto 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.

The next two letters define which Map Type the bitmap is for. These are asfollows:

cl: Colorbm: Bumpsi: Self Illuminationop: Opacitysh: Shininess

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STARTEDIf you want to add a prefix on to the name of the bitmap, to make it easier tolocate, 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’.

Auto

Please leave this option enabled. With this option enabled, Deep Paint 3Dwill automatically replace any currently existing bitmaps, and generate newbitmaps if they do not already exist. The bitmaps will be saved into the samedirectory as any original bitmaps.

Pref

Choose a file format from the drop-down list. Any new maps generated willuse 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 andusing .tga files. We strongly recommend changing the format of any .tga filesto 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 identifyyour images, for example, ‘RedCar’. Try to make themshort 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 MaterialEditor 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

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open at the same time. They can be continually updating each other as youswap between the two.

This is particularly useful if you are painting Opacity maps, as Deep Paint 3Dcannot currently render them. Jumping between the two programs lets yourender your progress in MAX.

Tip: Paint your Opacity map the easy way. Since you can’t see the effect ofyour Opacity map as you paint it, create a New Layer Above, and create anew color channel. Paint your Opacity map by using shades of grey, and dragthe completed map from the Color Channel to the Opacity Channel in youroriginal layer. Delete the layer you added. This method can be useful forpainting other channels also.

Tip: When you import your Opacity map to MAX, it will default to the trans-parent effect of glass, including specular highlights. This effect can bequickly improved by copying the bitmap in the Opacity slot to the Specularityslot in the Material Editor.

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GETTING STGETTING STGETTING STGETTING STGETTING STARARARARARTED TED TED TED TED WITHWITHWITHWITHWITHMAMAMAMAMAYYYYYAAAAAPlease note, the information in this section is written specifically for Maya2.0.

Installation

If you installed the optional Maya 2.0 plugin with your DeepPaint 3D installa-tion, then proceed to Loading .

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” directoryCopythe “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 Man-ager”.

Click the “loaded” toggle, next to “deeppaint3d.mll”.Click the “auto load” toggle if you want the Deep Paint exporter to automati-cally load each time that Maya starts.A “Deep Paint 3D” menu item should now appear in your main Menu Bar.

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Load an object into Maya.Use the Selection tool.

Select by Components:

Sending

Use the “Launch Deep Paint 3D” option, then use “Export Selection” totransfer your objects from Maya to Deep Paint 3D.

Retreiving

When you have finished, use the Import Bitmaps or Save All Maps fromDeepPaint 3D to return your Bitmaps to Maya.

IMPORTANT!

DeepPaint 3D will only paint on polygonal models. If you have NURBSsurfaces, use the “NURBS to Polygons” operator in the “Edit Surfaces”menu.

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GETTING STGETTING STGETTING STGETTING STGETTING STARARARARARTED TED TED TED TED WITHWITHWITHWITHWITHSOFTIMAGESOFTIMAGESOFTIMAGESOFTIMAGESOFTIMAGE

Overview

Deep Paint 3D will allow SoftImage users to easily edit the materials on theirobjects by loading the object directly into Deep Paint 3D. A SoftImage plug-inis 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 3Das appropriate within SoftImage.

It’s that easy!

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GETTING STGETTING STGETTING STGETTING STGETTING STARARARARARTED TED TED TED TED WITHWITHWITHWITHWITHLIGHTWLIGHTWLIGHTWLIGHTWLIGHTWAAAAAVEVEVEVEVE

Overview

Deep Paint 3D will allow Lightwaveusers to easily edit the materials on theirobjects by loading the object directly into Deep Paint 3D for painting. Thebitmaps can then be saved to the hard drive, and loaded and assigned inLightwave 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 3Das appropriate within Lightwave.

Happy rendering!

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GETTING STGETTING STGETTING STGETTING STGETTING STARARARARARTED TED TED TED TED WITHWITHWITHWITHWITHLIGHTING AND PAINT DEPTHLIGHTING AND PAINT DEPTHLIGHTING AND PAINT DEPTHLIGHTING AND PAINT DEPTHLIGHTING AND PAINT DEPTH

Overview

Deep Paint 3D simulates the depth (or height), shininess and interaction ofreal world paints in the following ways:

· 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 sup-

ports 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-linemanual and tutorials on the Deep Paint 3D CD-ROM, or make use of the on-line help.

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Procedures

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 thedefault canvas size.

Select the Freehand Tool , or right click and select Freehand from thepop-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 inthe Lighting Tab.

Next, we’ll turn off Bump and Shininess .

To turn a channel on or off use the channel indicators. For example, you canturn off the Color channel by clicking on the channel indicator, the smallbutton with the ‘C’ in the middle, as shown below. It will ‘grey-out’ wheninactive.

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The Bump and Shininess indicators are ‘B’ and ‘S’ respectively.

You can also just reduce the level of Bump and Shininess by selecting theBump and Shininess Swatches , which are the rectangles immediately tothe right of the channel indicator. Simply change the greyscale value.

Note: For Bump, white is up and black is down. For Shininess, white is shinyand 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, sochange 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 thecanvas. If you read to the end of this section, you will see how the paint canalso be dragged, gouged and built up or ground down.

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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. Thebump 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 ofbump and shine without having to repaint your image.

Try to remember to experiment with these values and your lighting directionwhen you are working on your images, as you can change the lighting asoften as you like prior to passing your image back to Photoshop.

Note: Select diagonally opposite lights for the most visible change and tryextreme values of ambient and spot light settings.

Note: When painting on a model in 3D mode, two more channels are avail-able, Glow and Opacity . The Glow and Opacity channels allow you to paintGlow Maps and Opacity Maps respectively, if your 3D application supportsthese features. Refer to the documentation that came with your 3D applica-tion if you are unsure.

Although the Deep Paint 3D real-time renderer cannot show opacity maps atthis time, the manual and tutorials contain tips and hints on how to takeadvantage 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 theother 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 , Bumpor Shininess . To paint with any one channel only, you simply turn the otherchannels 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 thedefault canvas size.

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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 automati-cally in Floater Mode . You can move your text by clicking and dragging untilyou are satisfied with its position. Select any tool, including the Text Tool , toset 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 firstexample.

Now turn on the Color , Bump and Shininess channels, and use the Text Toolto place the word ‘Text’ on the canvas, below the first two examples.

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Basic Lighting in 3D

Two differences between using 2½D and 3D modes, is the extra sub-tabshown 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, andthe 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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STARTEDThe Material Import dialog is discussed in detail in Chapter 3: Palettes. Themost important thing to remember when importing your own models, is thatyou must have applied UV mapping to your model in your 3D application, priorto importing to Deep Paint 3D.

Consult the documentation that came with your 3D application if you areunsure 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.

Under Render Levels , the Moving section allows you to set the way DeepPaint 3D displays your object when you are moving or rotating it. If yourdisplay 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 tothe display when the object is not being moved. If your display has troublekeeping up with your painting, you may try unchecking options as a lastresort.

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.Select the Freehand Tool .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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Continue experimenting with rotation and painting in 3D until you are comfort-able 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’, allowingthem to smear into each other slightly. Note how they blend together. Mixingcan 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” valleysthrough 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. Asbefore, the bump in your stroke will be extremely exaggerated.

Set the ambient lighting level to 100, and the spotlight lighting level to 0. Thebump will disappear completely, giving a vibrant but flat look.

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Try to remember to experiment with these values and your lighting directionwhen you are working on your images, as you can change the lighting asoften as you like prior to passing your image back to Photoshop.

Techniques: Deep Paint 3D is able to replicate the depth of several traditionalpainting techniques including impasto, aquapasto effects, and scraffitto.Thickly textured paint can be applied to the canvas, and then scratched ormoved around, revealing the canvas or any underlying layers. The texturedpaint can even be glazed, changing its color and shine without changing itsdepth or bump characteristics.

Important

Wherever you see this small grey arrow you can access specialsubmenus. These arrows are found throughout Deep Paint 3D, so don’thesitate to click on them, as they contain a wealth of power and control.

For example, the Feather and Canvas item in the Brush & PaintSettings Tab also gives access to the Jitter and Stroke Behavior options.

Wherever you see this double ended arrow or ‘spinner’ you can select avalue by clicking and dragging up/down.

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 followingmenu:

These menus are covered in detail in Chapter Eight: Context Menus in theDeep Paint 3D on-line manual.

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GETTING STGETTING STGETTING STGETTING STGETTING STARARARARARTED TED TED TED TED WITHWITHWITHWITHWITHCLONINGCLONINGCLONINGCLONINGCLONING

Overview

Functionally similar to the Rubber Stamp Tool in Photoshop, artistic cloningoffers the fastest way to create new and exciting content.

By using artistic cloning techniques, existing photographic or other imagescan be transformed to create new and interesting media content with a wholenew look. Photos can be quickly changed into rich oil paintings or delicatecharcoals. 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 originalimage back into the final result.

Deep Paint 3D offers the following features and benefits:

· Using the familiar Photoshop layer concepts, you can change thetransparency of any layer to trace or clone from layers below, creatingnew art from existing images or photos. Layers may be ‘dragged’ upor down to new positions.

· Deep Paint 3D offers more control over this process than any othermethod available to Photoshop users. Unlike ‘artistic’ filters thatprocess the entire image, Deep Paint 3D allows you to determine thelocation, direction, depth, shininess, opacity, and size of every brushstroke.

· From pencil and charcoal to impressionist effects, Deep Paint 3Dallows artists to create more art in less time, and to mix media freelyas they work.

· The artistic cloning process is fast and efficient, and is particularlyuseful when you need an image in a hurry, but can not compromiseon quality.

· Depth can be easily and quickly added to otherwise flat images.

The artistic cloning method offers much more than merely copying an existingimage.

For detailed explanations on artistic cloning please refer to the on-line manualand tutorials on the Deep Paint 3D CD-ROM, or make use of the on-line help.

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Procedures

The following procedure is a quick introduction to the process of artisticcloning. Please complete the steps in the order shown, to ensure yourscreen matches the illustrations. Examples are given for cloning using Hue,Luminance and Rub Through .

Artistic Cloning - Hue

The default cloning method is Hue.

Start PhotoshopOpen ‘Building.jpg’ from the tutorial folder.Select Filter > Right Hemisphere > Image to Deep Paint 3DDeep Paint 3D will start if it is not already running.Select ‘Send’

Note: This is the Deep Paint 3D Photoshop plug-in manager, the gatewaybetween Photoshop and Deep Paint 3D.

In Deep Paint 3D, select the Elements Tab . To bring up the LayersMenu , click on the small grey arrow to the right of the Transparency Sliderand select Add Layer Above .

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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 opac-ity slider as shown.

Select Layer 2 by clicking on it.Select the Clone Tool from the Tool Palette.

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 lookingat the Status Toolbar, shown below. It shows the current Brush in the firstbox, and the current layer in the second.

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STARTEDIt is important to get the brush large enough for broad cloning work. Changethe Brush Settings to be as follows:

Paint some rough strokes to fill in the image with broad strokes. We will addmore detail in the next few steps.

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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 rightadjusts the brush strength.

The SHIFT key combines with mouse or stylus movement to alter the squashand rotation of the brush. A preview will appear near your cursor.

Note: In 3D mode you can also dynamically resize your brush, but the previewwill alter itself to the topography of the model!

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STARTEDReduce the brush size by changing the Brush Settings to be as follows:

Pick out the edges in the foreground, and clone these areas to bring up thedetail.

Now change the Brush Settings again, by holding the CTRL key whilst movingthe 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 forinstance.

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 yourexisting preset, so you might prefer to ‘Save As’ , and give your preset a newname.

Presets can be saved to a central server, so that others within your companyor team can effectively control and share presets, ensuring consistency withina production environment.

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Select the ‘Pencil Cloner’.Add Layer Above again.Select your new layer, and paint in some nice texture, and change the trans-parency according to your preference.Select the ‘Big Rough Square Cloner’.Add more texture, both to the foreground and background, varying the brushsize 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 styluspressure e.g. Brush Cloner preset.

Try also using the ‘Dry Bristle’ preset in the Standard Tools category for abrushed look that shows how a non-cloner preset works. Follow the contoursof your image for the best results.

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STARTEDThis is useful for creating the level of detail required by changing styluspressure.

Also try starting a new clone layer and turning off Bump and Shininess . Forexample, you can turn off the channel by clicking on the channel indicator, thesmall button with the ‘B’ or ‘S’ in the middle, as shown below. It will ‘grey-out’ when inactive.

You can also reduce the level of Bump and Shininess by selecting the Bumpand Shininess Swatches . These are the rectangles immediately to the rightof the channel indicator. Simply change the greyscale value.

Note: For Bump, white is up and black is down. For Shininess, white is shinyand 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 ‘DeepPaint 3D’: Lighting and Paint Depth.

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Set the ambient lighting level to 0, and the spotlight lighting level to 100. Asbefore, the bump in your stroke will be extremely exaggerated.

Set the ambient lighting level to 100, and the spotlight lighting level to 0. Thebump will disappear completely, giving a vibrant but flat look.

Experiment with these values and your lighting direction when you are workingon your images, as you can change the lighting as often as you like prior topassing your image back to Photoshop. When you are happy with your lightsettings, move on.

Now Select the Variations category in the Presets Tab .

Select the ‘Oil Bristle - Medium’.Select the Freehand Tool from the Tool Palette .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 smallbutton with the ‘C’ in the middle, as shown below. It will ‘grey-out’ wheninactive.

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 select-ing 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 toreset the rotation, or select the ‘reset’ button in the Rotate Tool dialog.

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Select the Zoom Tool, which works exactly like the Zoom Tool inPhotoshop. Click once to zoom in, Alt + click to zoom out, or click and dragto select an area to zoom to. To reset the zoom, right click on the canvas asselect ‘Reset Rotation’ .

Select File > Export > Photoshop Out , or select the Eye button toreturn your image to Photoshop.

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Artistic Cloning - Luminance

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 backto the previous section if you find yourself in any difficulty.

Delete all your layers, except the ‘Base Layer’, by right clicking each layer inturn, and selecting Delete Layer from the pop-up. You could also selectDelete Layer from the Layer Menu , via the small grey arrow in the corner ofthe 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.

Now choose the Fill Tool .Make sure that Fill All is checked.

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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 theStandard Tools category.

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Artistic Cloning - Rub Through

Rub Through will give you the embossed texture and ‘edges’ of the Lumi-nance cloning option, but can also faithfully reproduce the color of youroriginal, 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 mouseup/down.

Start painting.

You may find it interesting to fill your new layer with a color before you startcloning.

You may find the chapter on artistic cloning in the Deep Paint 3D on-linemanual contains many useful hints, as does the artistic cloning tutorial andthe on-line help. The on-line manual is located on the Deep Paint 3D CD-ROM.

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Photographic Cloning - 3D mode

Although Artistic Cloning is not available in 3D mode, there is another formof cloning, Photographic Cloning .

This is very similar to the rubber stamp tool in Photoshop.

Load the Head_sml.3ds file.

Select the Clone Tool .Hold down the Alt key, and click once on the part of the right hand eyebrowclosest to the nose.

This sets the point the Clone Tool will use as the source. This will becomemore obvious as we continue.

Paint another eyebrow above the first!

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For more information on Cloning see Chapter 5: Cloning, andTutorial 5: Cloning.

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Overview

The advanced image spray and texture painting tool lets you use images aspaint, allowing you to use your existing texture libraries in several new ways:

· 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 ofdabs of paint, stylus pressure, or with the fingertip control wheel ofthe Wacom Intuos™ airbrush stylus.

· The textures Alpha channel allows image spray elements to build upin 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 manualand tutorials, or make use of the on-line help.

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Procedures

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 thedefault canvas size.Right click anywhere on the canvas in Deep Paint 3DSelect ‘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 effectis.

Try the other Ivy Texture Paint presets, such as ‘Ivy Formal’, ‘Ivy in Fall’, ‘IvyRainbow’ and ‘Ivy Tilt’, to see just some of the possibilities that can bedeveloped from the one texture image. (You will need a tablet that supportstilt 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 PaintSettings portion of the Brush & Paint Settings Tab to see how thesevariations are developed.

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Note: This style of button is common in the Brushes and Paint Tab. You mayexpand and collapse these sections as you require. You may find it useful totake 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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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 seehow these affect the result.

Dab - Makes changes over the total number of dabs as set in the Behaviordialog 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 styluswith 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 toPhotoshop.

Experiment with the many different presets, and refer to the on-line manual oron-line help for specific information. Texture paint is incredibly powerful, andhas a depth of functionality that cannot be fully explored in this brief introduc-tion.

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Texture Paint in 3D Mode

Texture paint works exactly the same in 3D mode.

Open the Head_sml.3ds file.Right click anywhere on the canvas in Deep Paint 3DSelect ‘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 on-line manual. Please see Chapter 6: Texture Paint and Tutorial 6: TexturePaint.

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Overview

Deep Paint 3D incorporates a unique new airbrush that behaves as close to areal airbrush as possible.

· Variable parabolic and elliptical spray pattern based on the stylusangle and direction for a true airbrush look.

· Variable feathering, spread and transparency to more accuratelyreproduce the effect of airbrushing.

· Control over height, ink-flow and scale, replicates real airbrush con-trols.

· Using the new Wacom Intuos™ airbrush stylus with the fingertipcontrol wheel to adjust height, ink-flow and scale provides a true tolife airbrush experience.

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Procedures

For the most realistic airbrush experience we suggest using the WacomIntuos™ airbrush stylus with the fingertip control wheel. At the very least, westrongly recommend the use of standard pressure sensitive stylus, with tiltangle 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 ofthe 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 thedefault canvas size.From the Presets Tab , choose the Standard Tools category, and select‘Airbrush - Flat’.Select the Freehand Tool .Paint a stroke.

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 thesettings.

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STARTEDIf you have a Wacom Intuos™ airbrush stylus, place a check mark next toStrength under Wheel . As you paint with the stylus, gently move the wheelforward to cut off the flow, and back towards yourself to increase the flow.

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 simulatesmoving the Airbrush closer to or further away from the canvas.

Notice how the tilt affects the brush dab shape. A vertical stylus positionresults in circular paint patterns, while low angle results in an elliptical patternthat starts smaller nearer the ‘nozzle’ and spreads out as it gets further fromthe ‘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 themain Deep Paint 3D on-line manual or on-line help.

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Overview

The paints and brushes have been designed to look, feel and interact like theirreal world counterparts. Most features of a paint or brush are editable. Youcan customize existing presets to suit your needs, or design completely newones.

· Deep Paint 3D has a comprehensive range of paint types includingoil, 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 includingsimple, bristle, airbrush, and bitmap brushes.

· For dry and wet brush effects, a user-defined canvas can affect thebrushes.

· You can easily edit and create new brushes, to make tools that canbe saved for later use.

· All brushes have fully adjustable support for tablets with pressure, tiltangle and directional sensitivity for an artistic look and feel.

· Brushes dynamically scale, rotate and adjust canvas response basedon your preferences.

· Presets can be shared from a central server to ensure consistencyacross a team of artists working on a single project.

Presets have their own chapter in the Deep Paint 3D on-line manual, and atutorial that shows you how to get the most from Presets . For a comprehen-sive list, see the main Deep Paint 3D on-line manual.

Note: When experimenting with brushes and paints, the ‘Reset’ option in thePresets Menu restores the current brush to its last saved default. Click onthe small grey arrow next to the ‘Save As’ button to access the menu.

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Procedures

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 itsname, 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 theNew button in the Presets Tab .Customize the settings as you please, and simply click Save to keep yournew Preset .

These instructions are simple because the Preset system has been designedto be as accessible as possible. However, the Presets are capable of vastvariety and subtlety. Please take the time to explore the possibilities.

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Overview

One aspect of Deep Paint 3D not explored by many users, is the powerfulability to customize your brushes to change while you are painting. Thestroke can be changed by stylus pressure or vector, or randomly, or even overtime.

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 thePresets 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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STARTEDThe best way to explain Jitter is to use it.

Paint a stroke using the current settings.Now change the Jitter to 0 using the slider.Paint a stroke.

The stoke will appear to be much ‘cleaner’, but will have much less character!

Now set the Jitter to 100.Paint a stroke.

The stroke will appear radically different. Now we’ll try the Smooth setting.

Change the Jitter back to 42.8Change the Smooth to 100Paint a stroke.Change the Smooth back to 0Paint 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 theSmooth setting works. Now we’ll change the spacing between the dabs inour stroke.

Change the Space to 97Paint a stroke.Change the Space to 0Paint a stroke.Change the Space to 38.4

That covers all the features we will be using in the next section, so feel free torefer back.

Now we will explore the ways that the ‘Brushy’ preset changes depending on

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how you paint.

Select Stroke Behavior as shown.

Notice that the Scale setting under Pressure is currently set to 30. The Scalesetting lets us vary the size of our dabs according to how hard or gently wepress.

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 0Paint a stroke.Set the Jitter to 100

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Select the Vector option as shown.

The direction that the brush travels in can control the stroke also. In this caseVector controls Rotation . The setting should be defaulting to 100. Thismeans the brush is always rotated to be aligned with the direction of thestroke.

Change the Rotation to 0Paint a stroke.Change the Rotation to 100Paint a stroke.Change the Rotation back to 75

The three options we have covered are just the ‘tip of iceberg’. Although theseare the only three affecting this preset by default, please remember to exploreand experiment with the many other options available.

Refer to the Manual and On-line Help for further information.

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GETTING STGETTING STGETTING STGETTING STGETTING STARARARARARTED TED TED TED TED WITHWITHWITHWITHWITHPHOPHOPHOPHOPHOTTTTTOSHOP PLOSHOP PLOSHOP PLOSHOP PLOSHOP PLUG-INSUG-INSUG-INSUG-INSUG-INS

Overview

You can take full advantage of other Photoshop compatible plug-ins fromwithin Deep Paint 3D, affecting the color, thickness and shininess of yourpaint.

Note: Not all plug-ins are supported. For a list of the currently supported plug-ins 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 acomplete guide to an individual plug-in, please refer to the documentation thatcame with it.

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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 Shininess .Click OK.

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CHAPTER ONE:CHAPTER ONE:CHAPTER ONE:CHAPTER ONE:CHAPTER ONE: THE INTERFTHE INTERFTHE INTERFTHE INTERFTHE INTERFAAAAACECECECECE

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 iswhere all of your 2D images are created and edited. This background willappear black when editing a 3D object, but may be changed or set to animage.

At the top of the screen are the Deep Paint 3D menus. These are brieflyexplained in the following section ‘The Menus’, and are covered in detail inChapter 2: The Menus

The palettes are the Tool Palette , the Color Palette , the Color Swatchesand 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, andis ‘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

The menus are quite straight forward, and work as they would in any standardwindows application. Menu items that have a small triangle to their right giveaccess to sub-menus.

See Chapter 2: The Menus for a complete guide to Deep Paint 3D’s menus.

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Palettes

Palettes that are not already on screen can be found in the View menu. Acheck 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 follow-ing descriptions.

Tool Palette

The Tool Palette is where all the basic tools are presented. You can alsofind 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

Shown here are the HLS and RGB modes. You can call up the Color Paletteby either selecting it in the View menu or by clicking on the Color Paletteicon on the Tool Palette , or by using the ‘up gesture’. For more informationon gestures see Appendix A: Keyboard Shortcuts.

The Color Palette allows you to mix color, set paint transparency, back-ground color, bump, glow, shine and opacity strength. It also allows you todecide 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

You can display the Color Swatches by selecting it in the View menu.

The Color Swatches allow you to quickly organize, store and recall thosecolors you use most often, or those colors that need to be reproduced ex-actly. 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

The Options Palette shows the options for the currently selected tool. Theexample illustrated below shows the options for the Clone Tool .

The Options Palette is dockable. This concept is explained in detail inChapter 3: Palettes, but in brief, this palette may be dragged to any positionon the screen or ‘docked’ in the dockable area along either the right or leftedge of the screen.

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Material Import Palette

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 UVmapping 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 theobjects. UV Mapping should be applied in your 3D modelling system. If youdo not see the letters UV in the first box and a checker pattern in the secondbox, as shown above, your object will need to be mapped and/or a materialdefinition added in your 3D application. For further assistance, see theappropriate appendix and the documentation that came with your 3D applica-tion.

Tip: Do not select 2 sided for a material unless absolutely necessary.Single sided rendering is considerably faster.

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Command Panel

The Command Panel contains four palettes or Tabs , the Presets Tab , theBrushes & Paints Tab , the Elements Tab , and the Lighting Tab .

The Command Panel is dockable. This concept is explained in detail inChapter 3: Palettes, but in brief, this palette may be dragged to any positionon the screen or ‘docked’ in the dockable area along either the right or leftedge 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 ofbrushes and paint.

See Chapter 3: Palettes for a complete guide to the Presets Tab , and seeChapter 4: Presets.

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Brushes & Paints Tab

These controls will change depending on the currently selected brush andpaint. Each type of brush and paint has its own unique set of controls. Thesecontrols change the look and feel of your brush and paint. You can changethese 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

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 LayersMenu may be accessed by clicking the small grey triangle. Similar triangles/menus may be found throughout Deep Paint 3D. The images show theElements 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

The Lighting Tab is where you control the levels and direction of the light thatshines on your canvas. The images show the Lighting Tab in 2½D and 3Dmodes 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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CHAPTER TWO: MENUSCHAPTER TWO: MENUSCHAPTER TWO: MENUSCHAPTER TWO: MENUSCHAPTER TWO: MENUS

Overview

This chapter is the complete guide to the Deep Paint 3D menus. Each entryshows you the menu name, keyboard shortcut if any, and a brief explanationof the menu item and the tutorials that best explain the feature.

Note: Not all menu options will be available unless an image or object iscurrently 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 aresupported.

3D formats include:

3DSOBJPRJ4DPLWODP3DP2

2D formats include:

AFXASCIIATTAVIBMPBRKCALS

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CCITT GroupCCITT Group IIICCITT Group IVCLPCUTDCXDDBDIBEPSEXIFGX2ICOIFF/ILBMIGFIMARAIMG-GEMIMG-XeroxIMTIOCAJFIFJPEGKFXLossless JPEGLVMACMO:DCAMSPNCROS/2 BMPPBMPCDPCXPGMPICTPNGPPMProgressive JPEGSGISUNTGATIFFWinfaxWMFWPGXBMXPMXWD

For more information on Open and opening files, see Tutorial 1.

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Close

Closes the current window. If the current project has not been saved, DeepPaint 3D will remind you, and give you the option to Save before closing thewindow. For more information on Close , see Tutorial 1.

Save CTRL+S

Saves everything in the current window. The Save option allows you to saveyour image instantly, using the same file format and name as you used thelast time you saved your image. For more information on Save, see Tutorial1. You can specify a file extension e.g. .pcx for formats that are not listed inthe file type pull-down. If your image has not yet been saved, the Save optionperforms exactly like the Save As option explained below.

Save As

Use Save As to save your current project under a different name, or to adifferent location, or as a different file type. The Save As option also allowsyou to save .dp2 or .dp3 project files, that preserve your Deep Paint 3Dlayers. Deep Paint 3D will ask which format you would like your maps savedas, and what name you would like to save the file as.

We recommend using .dp2 for your 2D projects, and .dp3 for your 3Dprojects, so you can change your layers later if you need to. Deep Paint 3Dwill create a project sub-directory with all the layers and channels available asseparate files. These can be then edited individually by experienced users tomodify 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 CompactedMaps or Save All Layers.

Save Compacted Maps – saves all the layers by saving themaps to the directory of your choice. The maps are firstcompacted by channel. For example, all the bump chan-nels are combined into one map, all the color maps arecombined into one map etc. This does not affect your .dp3project. The Save Dialog automatically opens in thedirectory it last found the object you are working on, butyou can change this.

Save All Layers – saves all the layers as separate maps tothe directory of your choice. The Save Dialog automati-cally opens in the directory it last found the object you areworking on. Each channel from each layer is saved as aseperate file.

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Import > Material from Photoshop

This option is only available in 3D mode. Returns your materials to DeepPaint 3D for further editing. For more information see Appendix B: Workingwith Photoshop

Export > Photoshop Out

This option is only available in 2½D mode. Returns an image that was sentvia the Deep Paint 3D Plug-in Manager from Photoshop, and closes thePlug-in Manager . Any changes made to the image in Deep Paint 3D willnow appear in Photoshop. For more information see Appendix B: Workingwith Photoshop.

Note: The image is sent as one layer, and overwrites the layer that was lastselected.

Export > 3D Studio Max

This option is only available in 3D mode. Returns your objects and texturesto 3ds Max. Any changes made in Deep Paint 3D will now appear in 3dsMax. 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 toPhotoshop for further editing. It will only send the current material from anobject 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 thelayers in Photoshop, as Deep Paint 3D needs these to function correctly. Formore information see Appendix B: Working with Photoshop

Print CTRL+P

Selecting Print brings up a standard Windows Print Dialog. From here, youcan select a printer to print to, the image print size and dpi, and the number ofcopies you wish printed. When you click OK Deep Paint 3D prints the imagethat is in the current window to the selected printer. The quality of the imagewill vary depending upon the printer. For more information on printing, seethe documentation that came with your printer.

Print Setup

Allows you to customize the various attributes particular to the currentlyselected printer. For more information on Print Setup , see the documenta-tion that came with your printer, as each printer’s Print Setup may be quiteunique.

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Preferences > General

Painting Path Preview - this option allows you to set theway Deep Paint 3D displays very fast brush strokes. If thecomputer 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 thesoftware will attempt to display your brush strokes. Withthis slider moved to the far right, feedback on your lines willbe very slow unless your machine is particularly fast. Itwill tend to reproduce your brush strokes more accurately.With this slider moved to the far left, feedback on yourlines will be more immediate. It will, however, tend toreproduce faster brush strokes less accurately. Experi-ment with this setting if you wish, but the default settingwill satisfy most users. Use this option in conjunction withCatch-up Speed .

Catch-up Speed - this also controls the speed at which thesoftware will attempt to display your brush strokes. Withthis slider moved to the far right, feedback on your lines willbe very slow unless your machine is particularly fast. Itwill tend to update your brush strokes less often, and inlarge ‘chunks’. With this slider moved to the far left,feedback on your lines will be more immediate. Rightmost settings may be useful for accuracy on particularlyslow machines, but remember that the feedback will bevery slow indeed. We recommend you use the left-mostsetting that reproduces your stokes accurately. Use thisoption in conjunction with Drawing Speed .

Undo Size - this option allows you to set the number of MBof RAM set aside for the Undo Buffer Size. The larger thenumber, the more actions you will be able to undo, and thelarger the individual action you will be able to undo. Thedefault is 4MB. Remember that any RAM assigned to theundo buffer will not be available to the rest of your system.

Remind to Save - this controls the amount of time DeepPaint 3D will take before reminding you to save your work.Type the number of minutes into the text box, or removethe 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 ofgestures, see Appendix A: Shortcuts.

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X-Wrap Mode - allows you to paint a stroke off the edge of abitmap, and continue painting on the opposite edge in 3Dmode.

4D Mouse Rotation - enables 4D Mouse Rotation. SeeChapter 7: Tablets for more information.

Thumbwheel Zoom - enables Thumbwheel Zoom. SeeChapter 7: Tablets for more information.

Preferences > Directories

Allows you to set the directories Deep Paint 3D uses when looking for re-sources, plug-ins and the Temp folder.

Resources such as presets, canvases, brushes and plug-ins can be sharedfrom a central server, to ensure consistency and convenience across a teamworking 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. Selectingfrom this list bypasses the usual open file dialog box, and loads the projectimmediately.

Exit

Closes the Deep Paint 3D program and exits to Windows. If any of the youropen projects have not been saved, Deep Paint 3D will remind you, and giveyou the option to Save. For more information on Exit , see Tutorial 1.

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Edit Menu

Undo CTRL+Z or Gesture Left

Undoes the last operation performed. For more information on Undo and theclipboard in general, see Tutorial 1.

Redo CTRL+R or Gesture Right

Redoes the last Undone operation. For more information on Undo and Redoand the clipboard in general, see Tutorial 2.

Cut CTRL+X

Copies the current selection set to the clipboard and removes it from thescene ready to be pasted into a new area. When a selection is cut, if it is noton the bottom layer it will leave a hole through which lower layers will bevisible. If it is on the bottom layer, it will leave a patch of the BackgroundColor in its place. As Deep Paint 3D shares the clipboard with any otherapplications you may be running, it is quite simple to Copy , Cut and Pastebetween these applications and Deep Paint 3D. For more information on Cutand the clipboard in general, see Tutorial 2.

Copy CTRL+C

Copies the current selection to the clipboard. As Deep Paint 3D shares theclipboard with any other applications you may be running, it is quite simple toCopy , Cut and Paste the Color Channels between these applications andDeep 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. AsDeep Paint 3D shares the clipboard with any other applications you may berunning, it is quite simple to Copy , Cut and Paste between these applicationsand Deep Paint 3D. When you have pressed the Paste button or KeyboardShortcut, Deep Paint 3D will try to paste the selection to the position of themouse pointer, but if it is unable to do so, it will paste the selection to thecenter of the canvas. The pasted selection will start as a floating selection, orfloater. You can drag the selection dynamically across the canvas until youare happy with its location. For more information on Paste and the clipboardin general, see Tutorial 2. Use CTRL+T to adjust the floater after a paste.

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Clear Clipboard

Removes any images or information stored in the clipboard. Deep Paint 3Dshares the clipboard with any other windows applications you may be running,so use caution when clearing the clipboard. Alternatively, if you have justcompleted a process that involved having a large image in the clipboard, andyou are not likely to need it again, clearing the clipboard will give your com-puter back the memory that image was occupying. For more information onClear Clipboard and the clipboard in general, see Tutorial 2.

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Selection Menu

Select All CTRL+A

Selects everything in the current window. For more information on Select Alland selection in general, see Tutorial 2.

Deselect All CTRL+D

Cancels all current selections. For more information on Deselect All andselection in general, see Tutorial 2.

Select Inverse SHIFT+CTRL+I

Inverts all current selections. Everything that is currently selected is dese-lected, and everything that is unselected becomes selected. For moreinformation 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 suitablecolor 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 oncancel or hit ESC. For more information on Set Mask Color and masks ingeneral, see Tutorial 3.

Set Mask Opacity

Allows you to set how opaque your masks will appear. Simply select asuitable opacity from the Opacity Picker that appears. Once you haveselected a level of opacity, click on the Opacity Picker’s ‘OK’ button. Tocancel any changes click on cancel or hit ESC. For more information on SetMask 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

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common areas between your existing mask and the maskyou load.

Filter Menu

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Only available in 2½D mode, or when viewing your 3D maps in a 2D previewwindow. Below is a list of the filters that ship with Deep Paint 3D. DeepPaint 3D allows the user to take full advantage of other Photoshop compatibleplug-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 plug-ins, and further enhances the value of investing in other Photoshop compatibleplug-ins.

Your other Photoshop compatible filters will appear below these. Please referto the documentation that came with your other Photoshop compatible filtersfor 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 numbersfurther from the center result in a greater amount of blurring. Experiment forbest effect.

Brightness/Contrast...

Allows you to set the levels for the Brightness and Contrast in the selectedportions of your image. Simply move the appropriate slider, and observe theeffect in the preview window.

Hue/Saturation...

Allows you to set the levels for the Hue and Saturation in the selected por-tions of your image. Simply move the appropriate slider, and observe theeffect in the preview window.

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View Menu

Selecting any of these menu items toggles its visibility. For example, if thereis a check mark immediately to the left of the words File Toolbar, then thetoolbar will be visible. If there is not a check mark immediately to the left ofthe File Toolbar, then the toolbar will not be visible.

This applies to all the View menu items listed:

File ToolbarStatus BarInfo BarToolsTool OptionsCommand PanelsColorColor 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

Cascade rearranges all the currently open windows in a ‘cascading’ or over-lapping pattern.

Tile Horizontally

Rearranges all the currently open windows so that all currently open windowsare visible, and arranged in a horizontal fashion.

Tile Vertically

Rearranges all the currently open windows so that all currently open windowsare visible, and arranged in a vertical fashion.

Arrange Icons

If you have minimized several windows, and moved their icons, this commandwill rearrange them across the bottom of the screen.

Current Windows List

Displays a list of all the currently open windows. Selecting a window from thelist makes that window the current window, and displays it if it was previouslyhidden.

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Help Menu

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 3Dyou are running, and some system information such as memory you haveavailable. This information is particularly important if you ever need to contactRight Hemisphere with a question.

You will also find Right Hemisphere’s contact details including URL links tothe World Wide Web, and legal and copyright notices.

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CHAPTER THREE: PALETTESCHAPTER THREE: PALETTESCHAPTER THREE: PALETTESCHAPTER THREE: PALETTESCHAPTER THREE: PALETTES

Overview

Palettes are small floating windows or dialog boxes that hold related informa-tion and tools together. This allows you to use commands and processes ina simple and logical way.

Palettes within the Command Panel often have a toggle button, such as theBrush settings toggle shown below.

You can use these toggles to reveal extra options or to keep your palettessmaller and less intrusive. For more information on viewing and hiding pal-ettes, 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 includesboth the 2½D canvas and the 3D object layers. In 3D mode, apply the effector tool directly to the object.

Tool Palette

The Tool Palette contains all of Deep Paint 3D’s tools. You can also findsome of the Deep Paint 3D color controls.

Any options associated with the currently selected tool will appear in theOptions Palette . For a brief overview of the Tool Palette , see Chapter1: TheInterface. For a brief overview of the Options Palette , see Chapter1: TheInterface and Options Palette in Chapter 3: Palettes.

Eraser Tool ‘E’

The Eraser Tool erases from the currently selected channels, allowingchannels in any visible layers below to show through. Three options areavailable:

Normal – Erases from the selected channels, using thecurrently selected brush.

Bleach – The edges of the areas you erase will tend towardswhite as if they had been bleached.

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Smudge – The edges of the areas you erase will tend tosmudge 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. Sim-ply click and hold the left mouse button and move the mouse to draw, orpress your pressure sensitive tablet with the stylus. The Freehand tool isextremely 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 alsowish to refer to Chapter 6: Texture Paint.

Text Tool ‘T’

The Text Tool lets you create text on your canvas, using the current ChannelAttributes such as Bump and Color . Click on the canvas or object, and typeyour text into the Text Editing Dialog . This is where you can set your fonttype, style and size, using the Change Font button. The text in the dialogwill change to reflect your choices. When you are satisfied, click Okay tocommit your choices to the canvas or object, or click Cancel . For moreinformation on the Text Tool , see Tutorial 1.

Tip: For the best results, please ensure "Smooth edges of Screen Fonts" isturned 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 morelikely the paint is to spill over through surrounding areas ofcolor. The lower the tolerance, the less the paint will eatinto or spill through surrounding areas of color. You canchange the tolerance from 0 to 255 using the spinner.

Fill All - The Fill All check box ignores the boundaries ofsurrounding areas of color, and fills the canvas completelywith the current foreground color. Use with caution, as youwill often be unable to undo this action without a very largesetting for the Undo Buffer.

Reference - Allows you to select which channel the FillTool will act on. You can choose either the ‘C’ , ‘B’ , ‘S’ ,‘G’ or ‘O’ buttons, to fill the Color , Bump , Shine , Glow orOpacity channels respectively.

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SSample Merged - With this option enabled, Deep Paint 3D

treats the image as if it were one layer. This means it thefill uses the entire visible image to find the ‘borders’ it canpaint too. With this option turned off, the fill will ignorelayers beneath the current layer for the purpose of finding‘borders’.

Feathered - With this option enabled, Deep Paint 3D usesthe differance between each pixel and the target pixel tospecify 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 drag-ging. Double click on the canvas or use the ‘Reset’ button under RotateOptions 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 startpoint of your line, and click and drag to the end point ofyour line. In the second instance you will see a ‘rubberband’ effect to show you exactly where your line willappear.

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 fromthe end of the previous line, until you double click the endpoint 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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You can modify the N-Gon and Circle/Ellipse options of the Line Toolgeometry 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 whiledrawing:

CTRL – Move the geometry to a new position before they aredrawn

ALT – Rotate the geometry around their origin before they aredrawn.

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 reproducingexisting imagery in a new style or medium.

Artistic Cloning – With this option off, the tool paints usingthe brush characteristics only, reproducing an image withits edges clearly defined and with the texture of the brushshowing through. With the Artistic Cloning option on, thetool copies using the currently selected Brush , allowingyou to blend and smear the colors and edges.

Because of the usefulness of this tool we have included a basic guide, a sortof ‘mini-tutorial’ for you to refer to whenever you use this tool.

A shortcut is to use the Clone Trace function, available eitherfrom the menu in the Elements Tab , or by selecting and thenright clicking on the layer you wish to clone. The current layersbecomes the Clone Source , and has the Opacity set to 30%. Alayer is created above, and is selected as the current layer. Thisis a useful production tool for Artistic Cloning .

Refer to Chapter 5: Cloning and Tutorial 5: Cloning for a complete guide tousing the Clone Tool .

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Eyedropper Tool ‘I’

The Eyedropper Tool lets you sample the paint characteristics such asColor , Bump and Shininess , under the tip of the tool, and sets the currentpaint characteristics to these.

Holding the ALT key while selecting a foreground color, allows you to setbackground 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 andQuick Mask modes:

N-Gon – Selects using a rectangular marquee. Clickand 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 theend point of the last line in the series, or click on theorigin.

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 checkboxes:

Centered – Forces rectangles and ellipses to be drawn fromthe 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.

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In 3D mode, you can modify the area to be selected by the Marquee Tool byselecting from the following options:

Visible Pixels Only – Selects only pixels visible from thecurrent point of view. Pixels that cannot be seen are notselected.

Front Facing Only – Selects front facing only in a direct linefrom your current point of view. Will select both sides if thematerial is double sided.

Both Sides Always – Selects both sides in a direct line fromyour current point of view.

You can modify Marquee Tool geometry by holding down the following keyswhile drawing:

CTRL – Move the geometry to a new position before they aredrawn

ALT – Rotate the geometry around their origin before they aredrawn.

SHIFT – Snaps to angle when drawing Joined Lines .

You can add or delete parts of a selection set by holding down the followingkeys 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 MagicWand Tool will select from, either ‘C’ , ‘B’ , ‘S’ , ‘G’ or ‘O’buttons, representing Color , Bump , Shine , Glow andOpacity respectively.

Tolerance – The higher the setting for tolerance, the widerthe range of color to be included in the selection. Thelower the tolerance, the more exact the color match. Youcan change the tolerance from 0 to 255 using the spinner.

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SContiguous – With this option turned off, the tool selects all

instances of that color. With the option turned on, allinstances of that color that are Contiguous from the pointclicked are selected.

Example: A clowns face with two red circles, one on each cheek. Selectingone red circle with Contiguous on, only selects the circled that was clickedon. With Contiguous turned off both red circles would be selected.

Feathered – Feathers the edge of your selection, giving amore 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 torestrict movement to any single axis, or to allow movement in both the x andy-axis simultaneously.

Along X - When selected, this option allows movement in theX axis or ‘side to side’.

Along Y - When selected, this option allows movement in theY axis or ‘up and down’.

You may reset your move by double clicking on the canvas. For more infor-mation 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, orALT+Click to zoom out one step.

To zoom on a particular area of an image, click and drag a marquee box untilit contains everything you want to view. Deep Paint 3D then creates the bestview based on your selection.

To zoom dynamically, hold down SHIFT+drag up and down to zoom in and outrespectively. Depending on the speed of your machine, and the complexity ofthe image, you should see the view update in real time.

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The following controls are available:

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 amountinto the text box. You may also select a zoom factor byclicking on the small triangle to the right of the text box.

You may reset your canvas by double clicking. For more information onZooming, 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, orto allow movement in both the x and y-axis simultaneously.

Along X - When selected, this option allows movementin the X axis or ‘side to side’.

Along Y - When selected, this option allows movementin the Y axis or ‘up and down’.

Flip Horizontally - Select this button to flip the currentfloater horizontally.

Flip Vertically - Select this button to flip the currentfloater 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 Z-axis.

Rotate Lights - Rotates the scenes lights.

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SRotate Object - Rotates the object. Only effective in

3D mode.

Reset - This button resets the canvas to its defaultposition.

Foreground Color

Clicking on this will bring up the Color Palette , and allow you to set theForeground Color .

Background Color

Clicking on this will bring up the Color Palette , and allow you to set theBackground 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 byyour current operation or tool. When you wish to stop a channel from beingaffected, simply click on its indicator, which will then turn dark grey.

C – Color: This channel contains all the information aboutthe ‘flat’ color that appears in the layer. The values arestored by Deep Paint 3D as 24-bit and may range any-where within the usual 16.8 million color range.

B – Bump: The bump values are represented as a greyscaleimage. Black areas will appear to be lower, while whiteareas appear higher. Grey values can vary anywherebetween the two extremes.

S – Shininess: This channel is also a greyscale. Blackareas have no shininess, while white areas are very shinyand specular. Grey values can vary anywhere betweenthe two extremes.

G – Glow: The glow values are represented as a greyscaleimage. Black areas will appear to be dull, while whiteareas appear to glow brightly. Grey values can vary any-where between the two extremes.

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O – Opacity: This channel is also a greyscale. Black areasrepresent holes or complete transparency, while whiteareas are solid or completely opaque. Grey values canvary anywhere between the two extremes.

Note: The Deep Paint 3D renderer is currently unable to display real-timeopacity effects. A simple shortcut, is to create a new layer, create a colorchannel in that layer, and paint your opacity map as a greyscale. When youare happy with your map, drag and drop your new color channel onto theopacity channel.

To enable a channel, click on it until the indicator returns to its usual lightgrey 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 Opacitychannels.

You can set the current level of any of those channels by clicking on theindicator , which will bring up the Color Palette . Simply select the color orgreyscale level you require.

See the preceding section Color , Bump , Shine , Glow and Opacity Togglesfor more information.

Canvas

Brings up the Select Canvas Dialog . Simply choose a canvas, and clickOK, or click Cancel to return to Deep Paint 3D without making any change toyour current canvas.

Any preset that utilizes the current materialcanvas will use your selectionwhen painting. The exact response is determined by the Scale and Spreadsettings.

To create your own canvases, any bitmap can be placed into either of thefollowing 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 wheninstalling Deep Paint 3D, the exact directory location may be different.

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Mask to Selection

This button converts your Mask to a selection.

For details on how to paint a Mask , see the Paint Mask section that follows.

Paint Mask

This button selects Masking Mode .

Masks are a simple way to select complicated areas of your work. The maskworks 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 havefinished creating your mask, click the Masking to Selection Button toconvert it to a selection. For more information on the Masking Tool, seeTutorial 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 lensand 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 andSelection > Save Mask in Chapter 3: Menus for more information.

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Color Palette F 4

This palette is used to choose the color values you paint with, from either 16million colors and shades for the actual Color channel, to 256 shades orlevels of grey for the Bump and Shininess channels.

Use the Color Mode Selector to choose between HLS and RGB. TheChannel Selector is where you choose which channel the color will beapplied 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 channelusing the Channel Selector . Next select a hue in theHue Selector . Now select the specific shade in the ColorPalette . Lastly, use the Opacity Selector .

Bump, Shine, Glow and Opacity Channels – Select theappropriate channel using the Channel Selector . Nowselect the specific greyscale value in the Color Palette .Lastly, use the Opacity Selector .

Mode Variations – Options are HL-S, HS-L and SL-H. Theletters before the hyphen indicate the combination dis-played in the Color Palette . The remaining letter indi-cates 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 thosechannels may only make use of a 256 color greyscale value.

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RGB

The RGB color model uses Red, Green and Blue values to define a color.

Color Channel – Select the Color channel using the Chan-nel Selector . Next select the red, green and blue valueseither by typing them into the text boxes, using the RGBSpinners next to the text boxes or by using the RGBSliders . Lastly, use the Opacity Selector .

Bump, Shine, Glow and Opacity Channels – Select theappropriate channel using the Channel Selector . Nowselect the specific greyscale value either by using the RGBSpinners next to the text boxes or by using the RGBSliders . They will all move in unison.

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Color Swatches F 3

The Color Swatches help organize the colors you use most often. You canuse the Color Swatches to store or retrieve values for the Color channels.

CTRL+Click deletes a swatch from the palette, and SHIFT+Click adds aswatch.

The small grey triangle in the right hand corner, the Swatch Option Selec-tor , gives you the following options:

Reset – Replaces the current swatch with the default.ACOthat ships with Deep Paint 3D. Deep Paint 3D automati-cally loads the last used swatch when you start the pro-gram.

Load – Lets you load any Photoshop compatible .ACO file,and appends it to the end of the swatch pots you alreadyhave.

Replace – Replaces your current swatch with another anyPhotoshop compatible .ACO file.

Save – Saves your current swatch as a Photoshop compat-ible .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

The Options Palette shows the options for the currently selected tool. Theexample illustrated below shows the options for the Clone Tool .

Also, the Options Palette is dockable. This means the palette may bedragged to any position on the screen or ‘docked’ in the dockable area alongeither the right or left edge of the screen.

For exact details on the contents of the palette, refer to the section on thecurrently selected tool.

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Material Import Palette

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 UVmapping 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 theobjects. UV Mapping should be applied in your 3D modelling system. If youdo not see the letters UV in the first box and a checker pattern in the secondbox, as shown above, your object will need to be mapped and/or a materialdefinition added in your 3D application. For further assistance, see theappropriate appendix and the documentation that came with your 3D applica-tion.

Tip: Do not select 2 sided for a material unless absolutely necessary.Single sided rendering is considerably faster.

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Command Panel

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 draggedto any position on the screen or ‘docked’ in the dockable area along either theright or left edge of the screen.

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Presets Tab

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 counter-parts described in the Presets Menu below.

Category Menu

Add Category - Allows you to create a new category.

Rename Category - Allows you to rename an existingcategory.

Delete Category - Allows you to delete an existing category.Use with caution.

Merge Preset Files - Allows you to combine .tbx presetfiles.

Presets Menu

New - Creates a new preset in the current category, basedon the currently selected Preset .

Save - Allows you to save the currently selected Preset .

Save As - Allows you to save the currently selected Presetwith 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 defaultvalues.

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SChange Category - Moves a Preset from on category to

another.

Delete - Deletes the currently selected Preset . Use withcaution.

This palette is explained in depth in Chapter 4: Presets.

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Brushes & Paints Tab

The Brushes & Paints Tab contains all the Brush and Paint settings associ-ated with your currently selected Preset .

Brush Settings

The Brush Settings area organizes the information and controls you need toget the most from your brushes. The brushes themselves can be divided intothe 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 givesthe brushes dimensions in pixels. Clicking on the smallgrey triangle next to the preview brings up the SelectBrush Shape dialog.

Aspect Spinner – Moving the spinner up results in a circularbrush. Moving the spinner down creates an elliptical (flatand thin) brush.

Rotate Spinner – Moving the spinner up rotates the brushhead counterclockwise. Moving the spinner down rotatesthe brush head clockwise.

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SScale Slider – Moving the slider left decreases the brush

size, until the minimum of 1 x 1 pixels is reached. Movingthe slider right increases the brush size to a maximum of80 x 80 pixels. Larger brush sizes are possible using theCTRL+Mouse Up/Down shortcut while painting, or bytyping the number into the text box.

Feather Slider – Moving the slider left gives the brush a veryhard, harsh edge. Moving the slider right gives the brush asofter, anti-aliased look.

Strength Slider – Moving the slider left creates a verytransparent brush, until 100% transparency is reached.Moving the slider right decreases the transparency until thebrush is 0% transparent, or fully opaque.

Taper Slider – Moving the slider to the absolute left resultsin no taper at all. Moving the slider right increases theamount the brush will taper, until the brush very quicklytapers 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 willrotate to follow the direction in which the line is beingdrawn. With the option turned off, the brush head willremain aligned in its default position.

Pressure Affects: Scale – Pressure Sensitive Tablets Only!The harder the pressure, the larger the brush. The lighterthe pressure the smaller the brush.

Pressure Affects: Strength – Pressure Sensitive TabletsOnly! The harder the pressure, the more opaque the brush.The lighter the pressure, the more transparent the brush.

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Artist Brush

Able to accept complex parameters, the artist brush is the most flexible of theDeep Paint 3D brushes. The artist brush is able to replicate virtually anybrush shape or style imaginable.

The brush has the following options:

Brush Preview – Shows a plan view of the brush, and givesthe brushes dimensions in pixels. Clicking on the previewbrings up a large cross-sectional view of the current brushtip. Clicking in the small grey triangle next to the previewbrings up the Select Brush Shape dialog.

Scale Slider – Moving the slider left decreases the brushsize, until the minimum of 1 x 1 pixels is reached. Movingthe slider right increases the brush size to a maximum of80 x 80 pixels. Larger brush sizes are possible using theCTRL+Mouse Up/Down shortcut while painting, or bytyping the value into the text box.

Angle Spinner – Moving the spinner up rotates the brushhead counterclockwise. Moving the spinner down rotatesthe brush head clockwise. This control is very similar tothe Simple Brush’s Rotate Slider.

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SSquash Spinner – Moving the spinner up results in a circular

brush. Moving the spinner down creates an elliptical (flatand thin) brush. This control is very similar to the SimpleBrush’s Aspect Slider.

Brush Profile – This allows you to select a Brush Tip fromsix styles. The Brush Tip will affect how and where thepaint will tend to ‘pool’ or be thinner. Experimentation ishighly recommended. The available types are:

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 remainingArtist Brush features. It is important to remember that the options in thissection are active even if you cannot currently see them in the palette. Theoptions are:

Feather and Canvas - This option groups the controlsthat give the brush head and individual dabs their distinctlook.

Feather Slider – Moving the slider left creates a veryhard edged brush. Moving the slider right creates avery soft edged brush.

Strength Slider – Moving the slider left creates a verytransparent brush, until 100% transparency isreached. Moving the slider right decreases thetransparency until the brush is 0% transparent, orfully opaque.

Paint Valleys – With this option enabled, the brushwill fill the ‘valleys’ of the canvas, only painting on thelower areas. It effectively inverts the usual result.

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Sink – Controls the amount the paint sinks into thecurrent canvas or bump map. The lower the sinkvalue, the more the paint is confined to the higherpeaks of the canvas or bump map.

Spread – Controls the amount that the paint spreadsout for each dab, and can be thought of as featheringthe effect of sink.

Note: this is reversed when Paint Valleys is selected.

No Canvas – This option removes all canvas effectsfrom the current brush.

Brush Canvas – Overrides the current global canvas.Select your brush canvas by clicking on the smallgrey arrow to the left. Brush canvas settings aresaved when you save the brush as a preset.

Material Canvas – Uses the current global canvas.See the Tool Palette section of Chapter 3: Palettesfor more information about changing the globalcanvas.

Material Bump – This option allows you to paint thecanvas texture into your images, using the bumpchannel.

Tip: Experimenting with these settings with both standard and bitmapbrush canvases can result in some very interesting effects.

Jitter - This option groups the controls that give the brushstrokes their smooth or ‘jittery’ and random feel.

Jitter Preview - Shows an approximate preview of theeffects of your current jitter settings.

Jitter Slider - Moving the slider fully left completelyeliminates all jitter, producing an exact, even repro-duction of your brush stroke. Moving the slider fullyright introduces the maximum random variation fromyour original stroke, producing an uneven or jitteryseries of unconnected dabs of paint.

Smooth Slider - Moving the slider fully left producesan exact, even reproduction of your brush stroke.Moving the slider fully right introduces the maximumrandom variation from your original stroke, producing

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Sa stroke that mimics maximum jitter (see above) butas a single brush stroke, rather than a series ofunconnected dabs of paint.

Space Slider - Determines the distance between eachdab in the brush stroke. With the slider fully to theleft, a standard line will be painted. With the sliderfully right there will be a significant distance betweeneach dab, producing a series of dots rather than aline.

Stroke Behavior - This option groups the controls that canbe made to dynamically alter a stoke as it is being painted.The grey triangle below the words Stroke Behavior giveaccess to the various ways in which you can control theway Deep Paint 3D will vary its stroke. Any settings thatexist will affect the stroke, even if those settings are notcurrently visible.

Tablet Pressure - Sets which brush characteristicsthe stylus pressure will affect.

Tablet Direction - Sets which brush characteristicsthe stylus tilt direction will affect.

Tablet Angle - Sets which brush characteristics thestylus tilt angle will affect.

Finger Wheel - Sets which brush characteristics thefingertip control wheel on the Wacom Intuos™airbrush stylus will affect.

Vector - Sets which brush characteristics the strokevector will affect.

Speed - Sets which brush characteristics the strokespeed will affect.

Random - Sets which brush characteristics will bevaried randomly during a stroke.

Time - Sets which brush characteristics will be variedover time.

Each of these control mechanisms can be made to affecteach of the following stroke characteristics. Any slidersfully to the left will not affect the stroke, while sliders fullyright will have a maximum effect on the stroke.

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Scale - Sets the degree to which scale will be af-fected. See earlier in this chapter for a description ofScale .

Rotate - Sets the degree to which rotation will beaffected. See earlier in this chapter for a descriptionof Rotate .

Squash - Sets the degree to which squash will beaffected. See earlier in this chapter for a descriptionof Squash .

Strength - Sets the degree to which strength/transpar-ency will be affected. See earlier in this chapter fora 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

Performs like its real world counterpart. Although this feature works well withany pressure sensitive device, it functions particularly well with the WacomIntuos Tablet and Airbrush Pen, as this device has the same controls as a realairbrush, and the same ergonomics.

In all cases the check boxes under Wheel should only be used with theWacom Intuos™ airbrush stylus with the fingertip control wheel. The Pres-sure settings work with any pressure sensitive tablet, including the WacomIntuos™ airbrush stylus.

Brush Preview – Shows a plan view of the brush, and givesthe brushes dimensions in pixels. Clicking on the previewbrings up a large view of the current brush tip.

Extra Smooth – Adds an extra level of smoothing to theresulting stroke.

Scale Slider – Moving the slider left decreases the brushsize, until the minimum of 1 x 1 pixels is reached. Movingthe slider right increases the brush size to a maximum of80 x 80 pixels.

Feather Slider – Moving the slider left gives the brush a veryhard, harsh edge. Moving the slider right gives the brush asofter, anti-aliased look.

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Strength Slider – Moving the slider left creates a verytransparent brush, until 100% transparency is reached.Moving the slider right decreases the transparency until thebrush is 0% transparent, or fully opaque.

Spread Slider – Controls the amount of paint spread. Mov-ing 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 heightor distance of the airbrush from the canvas. Pulling thewheelback simulates moving the airbrush further from thecanvas. Pushing the wheel forward simulates moving thebrush closer to the canvas.

Scale – Pulling the wheel back creates a larger brush pat-tern. Pushing the wheel forward creates a smaller brushpattern.

Strength – This simulates the normal inkflow of a real air-brush. 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

Understanding the simple concepts of layers and channels is crucial togetting the most from Deep Paint 3D.

Layers are like stacked panes of glass. If you paint on the top layer, it hidesanything painted on layers below, while any holes or gaps will reveal thelayers below.

When in 2½D mode, the layer options are quite simple. The layer may bemade visible, or hidden, by simply clicking on the first column in that layer. Ifa small eye shaped icon is present, the layer will be visible, and if the columnis empty, the layer will be hidden

Layers Sub-Tab

When used in 3D mode, under the Layers sub-menu, each layer has fivechannels. They are:

C – Color: This channel contains all the information aboutthe ‘flat’ color that appears in the layer. The values arestored by Deep Paint 3D as 24-bit and may range any-where within the usual 16.8 million color range.

B – Bump: The bump values are represented as a greyscaleimage. Black areas will appear to be lower, while whiteareas appear higher. Grey values can obviously varyanywhere between the two extremes. You may findadditional information about bump maps and the way your3D application handles them, in the documentation thatcame with your 3D application.

G – Glow: The amount of glow or self-illumination is repre-sented as a greyscale image. White areas will appear toglow, while black areas will not. Grey values can obviouslyvary anywhere between the two extremes. Deep Paint 3D2.0 is not currently able to show the effect of your glowmap actually glowing. You should use your 3D applicationto see the full effect. You may find additional informationabout glow maps and the way your 3D application handlesthem, in the documentation that came with your 3D appli-cation.

S – Shininess: This channel is also a greyscale. Blackareas have no shininess, while white areas are very shinyand specular. You may find additional information aboutshininess or specular maps, and the way your 3D applica-tion handles them, in the documentation that came withyour 3D application.

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O – Opacity: This last channel is another greyscale. Whiteareas are completely opaque, while black areas are verytransparent. You may find additional information aboutopacity or transparency maps, and the way your 3Dapplication handles them, in the documentation that camewith your 3D application.

Tip: When painting Opacity, which cannot be rendered in Deep Paint 3Dcurrently, it is a good idea to make a new color channel in a new layer andpaint black and white as desired for opacity. Then move this layer to theOpacity Channel when you have finished.

Although all layers are able to display and use these channels, you are free topick and choose which channels you will allow for each layer. As eachchannel is stored and saved separately, you should only use those channelsyou 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 yourmaterial from the list that drops down. Below this you will see the Transpar-ency Slider.

Transparency Slider - Sets the transparency for the active layer. The activelayer is easily identified by the red border that surrounds it. When the slideris fully to the left the layer is completely transparent, and when the slider isfully 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 Back-ground , the light grey area below your existing layers, and select the optionAdd Layer . You may have to scroll down to see the Layer Background ifyou have many layers.

Secondly, you can right click on the name of an existing layer, and selecteither Add Layer Above or Add Layer Below from the pop-up menu. AddLayer Above puts the new blank layer immediately above the layer you rightclicked. Add Layer Below puts the new blank layer immediately below thelayer you right clicked.

Thirdly, you can double click on the light grey area below the lowest layer.

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SRight click on an existing Layer Name to see the Layer Popup Menu. Op-tions 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 alist of the channels in the layer. Identical to double clickingthe Layer Name.

Add Layer Above – Add Layer Above puts the new blanklayer immediately above the layer you right clicked.

Add Layer Below – Add Layer Below puts the new blanklayer immediately below the layer you right clicked.

Set Clone Source – Sets the current layer as the source forthe Clone Tool.

Clone Trace – Quickly sets up an image for cloning. Thecurrent layers becomes the Clone Source , and has theOpacity set to 30%. A layer is created above, and isselected as the current layer, ready for cloning.

Duplicate Selected – Makes a duplicate of the currentlyselected layer.

Merge Layer Down – Merges the selected layer with thechannel immediately below.

Merge Visible – Merges all visible layers into one. Visiblelayers 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 anempty and transparent state.

Delete Layer – Deletes the current layer.

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The layer may be made visible, or hidden, by simply clicking on the firstcolumn in that layer for the 2½D mode, or by CTRL + Clicking on a channelicon in 3D mode. In 2½D mode, if a small eye shaped icon is present, thelayer will be visible, and if the column is empty, the layer will be hidden. In 3Dmode, if the channel icon is bright, the channel will be visible, and if thechannel icon appears slightly ‘greyed out’, the channel will be hidden.

Material Sub-Tab

Edit - Allows you to edit an existing material, through theMaterial Designer .

Two-sided Indicator - This option shows whether the mate-rial is two-sided. Click to change.

Export Indicator - This option shows whether the material isto be exported when File > Export > 3D Studio Max isselected. Click to change.

Material Name - Double clicking brings up the MaterialDesigner.

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Objects Sub-Tab

Object Visibility - Toggles the objects visibility.

Object Name - Double click on an object name to bring upthe Object Properties dialog.

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Lighting Tab

The Lighting Tab gives you the controls you need to control the direction andstrength of the lighting affecting your canvas. The images below show thetabs 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 thesame place relative to you when you rotate the canvas. With the optionunchecked, the lights will rotate with the canvas. The ‘Reset’ button restoresyour lighting to the default.

The Light Both Sides check box, if checked, lights both sides of all polygonsequally.

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Spotlight

Direction - Use the light icons that surround the globe to setthe light direction, or click the globe itself to shine yourspotlight directly at the canvas.

Angle -Use the text box to directly set your lighting angle.

Custom - Tick the check box and enter your X and Y valuesinto the text boxes. Position 0,0 is directly in the centerof the screen. Positive X values, move the light to theright, while negative values move it to the left. Positive Yvalues, move the light up, while negative values move itdown.

Spot Slider - Sets the strength of the Spotlight . Move theslider 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 comesevenly from all directions. Move the slider to the right toincrease the brightness of the light, and further to the leftto 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 maxi-mum.

Lighting Bookmarks

Lighting Bookmarks allow you to save the lighting levels and positions as youwork, 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 selectedbookmark.

Scene Sub-Tab

This allows you to set the overall settings for the 3D mode.

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Background

Clear - Clears the current background image, if any, to noimage.

Browse - Allows you to select a background image.

Color - Sets the background color to the current ForegroundColor.

Render Levels

Moving - The Color , Bump , Glow and Shininess checkboxes allow you choose the level of detail displayed whenmoving your objects. Uncheck more boxes to speed upredraws.

Still - The Color , Bump , Glow and Shininess check boxesallow you choose the level of detail displayed when paint-ing your objects. Uncheck more boxes to speed upredraws.

You can also click on the bronze spheres to cycle through the default set-tings.

Two-sided

The Two-sided check box allows you to force Deep Paint 3D to treat polygonsas Two Sided. If polygons appear to have disappeared, or appear around

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CHAPTER FOUR: PRESETSCHAPTER FOUR: PRESETSCHAPTER FOUR: PRESETSCHAPTER FOUR: PRESETSCHAPTER FOUR: PRESETS

Overview

This chapter will help you get the most from Deep Paint 3D’s system ofPresets .

Presets hold combinations of Brushes and Paints for quick retrieval. Theycan be quickly and temporarily changed, or edited and saved for later use.Deep Paint 3D also allows you to organize your Presets into user-definedcategories.

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 theirreal world counterparts. Most features of a paint or brush are editable. Youcan customize existing presets to suit your needs, or design completely newones.

· Deep Paint 3D has a comprehensive range of paint types includingoil, 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 includingsimple, bristle, airbrush and bitmap brushes.

· For dry and wet brush effects, a user-defined canvas can affect thebrushes.

· You can easily edit and create new brushes, to make tools that canbe saved for later use.

· All brushes have fully adjustable support for tablets with pressure, tiltangle and directional sensitivity for an artistic look and feel.

· Brushes dynamically scale, rotate and adjust canvas response basedon your preferences.

· Presets can be shared from a central server to ensure consistencyacross a team of artists working on a single project.

Note: When experimenting with brushes and paints, the ‘Reset’ option re-stores the current brush to its last saved default.

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Procedures

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 itsname, 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 theNew button in the Presets Tab .

Customize the settings as you please, and simply click Save to keep yournew Preset .

These instructions are simple because the Preset system has been designedto be as accessible as possible. However, the Presets are capable of vastvariety and subtlety. Please take the time explore the possibilities.

See Tutorial Four: Presets for a complete step-by-step guide to creating andusing Presets .

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Reference

The Category Selector allows you to select the category of Preset to dis-play. Alternately, you may choose to display ‘All’.

The ‘Save’ and ‘Save As’ button perform the same actions as their counter-parts described in the Presets Menu below.

Category Menu

Add Category - Allows you to create a new category.

Rename Category - Allows you to rename an existingcategory. Giving two categorys the same name mergesthem.

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, basedon the currently selected Preset .

Save - Allows you to save the currently selected Preset .

Save As - Allows you to save the currently selected Presetwith 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 defaultvalues.

Change Category - Moves a Preset from one category toanother.

Delete - Deletes the currently selected Preset . Use withcaution.

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CHAPTER FIVE: ARTISTICCHAPTER FIVE: ARTISTICCHAPTER FIVE: ARTISTICCHAPTER FIVE: ARTISTICCHAPTER FIVE: ARTISTICCLONINGCLONINGCLONINGCLONINGCLONING

Overview

Functionally similar to the Rubber Stamp Tool in Photoshop, artistic cloningoffers the fastest way to create new and exciting content.

By using artistic cloning techniques, existing photographic or other imagescan be transformed to create new and interesting media content with a wholenew look. Photos can be quickly changed into rich oil paintings or delicatecharcoals. 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 originalimage back into the final result.

Deep Paint 3D offers the following features and benefits:

· Using the familiar Photoshop layer concepts, you can change thetransparency of any layer to trace or clone from layers below, creatingnew art from existing images or photos. Layers may be ‘dragged’ upor down to new positions.

· Deep Paint 3D offers more control over this process than any othermethod available to Photoshop users. Unlike ‘artistic’ filters thatprocess the entire image, Deep Paint 3D allows you to determine thelocation, direction, depth, shininess, opacity and size of every brushstroke.

· From pencil and charcoal to impressionist effects, Deep Paint 3Dallows artists to create more art in less time, and to mix media freelyas they work.

· The artistic cloning process is fast and efficient, and is particularlyuseful when you need an image in a hurry, but can not compromiseon quality.

· Depth can be easily and quickly added to otherwise flat images.

The artistic cloning method offers much more than merely copying an existingimage.

Refer to Tutorial Five: Cloning for more step-by-step instructions on how to getthe most from the Clone Tool .

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Reference

Artistic Cloning - This option allows you to choose whether you will usePhotographic Cloning, which clones without altering the image or ArtisticCloning, which lets you specify the type of paint and brush to clone with.

Effect Reference - Allows you to choose which of the three cloning stylesyou will use.

Hue - The default cloning method. Clones using the color orHue of your source image.

Saturation - Clones giving an embossed or etched look.

Rub Through - Clones with the embossed or etched look ofthe Saturation method, combined with the color of the Huemethod

Tip: A shortcut is to use the Clone Trace function, available either from themenu in the Elements Tab , or by selecting and then right clicking on thelayer you wish to clone. The current layer becomes the Clone Source , andhas the Opacity set to 30%. A layer is created above, and is selected as thecurrent layer. This is a useful production tool for cloning.

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CHAPTER SIX: TEXTURE PAINTCHAPTER SIX: TEXTURE PAINTCHAPTER SIX: TEXTURE PAINTCHAPTER SIX: TEXTURE PAINTCHAPTER SIX: TEXTURE PAINT

Overview

This chapter is the full technical reference for Deep Paint 3D’s most powerfuland sophisticated paint, Texture Paint , which allows you to use images aspaint.

A Texture Paint may contain characteristics from any combination of chan-nels, and most of the features can be made to change as you paint yourimages.

· Texture paint can be used either to clone tiled images using thecurrent brush, or to spray a sequence of images.

· You can control scale, hue, saturation, rotation, opacity and tilenumber.

· You can vary those settings randomly, or based on the number ofdabs of paint, stylus pressure, or with the fingertip control wheel ofthe Wacom Intuos™ airbrush stylus.

· You can use Alpha channels to allow paint elements to build up inlayers, 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 aTexture Paint can seem quite daunting. Don’t despair. If you completeTutorial 6: Texture Paint before reading this chapter, you should find everythingself-explanatory. The tutorial has been written to gently introduce you toTexture Paints many options, so please take the time to complete it beforeyou try to apply the contents of this chapter.

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Reference

The Paint Settings for Texture Paint are divided into four collapsable sections:

Behavior - Shows a preview image for a single dab, andholds some basic settings.

Advanced Behavior - A sub-section of Behavior . It holdsthe largest number of settings.

Textures - Shows a preview of an entire channel, and somebasic tiling controls.

Texture Channels - A sub-section of Textures . Allows youto set the images for each channel.

Behavior

Dabs - This is the number of dabs in the stroke, affected by Repeat & Ping-Pong .

Repeat - When Repeat is selected, this tells the brush to continually repeatthe dabs specified above.

Ping Pong - This setting tells the brush to bounce or Ping Pong betweenvalues at either end of the stroke before repeating (if repeat is selected) orfinishing.

Set Start - This affects the starting value for the first dab, and for Clone TilePaint when tiling, setting the origin of tiles using the start position of thestroke. It also affects changes with respect to dab number. If Set Start is notchosen, 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 isalways reset.

Advanced Behavior

This section begins with five buttons labeled Base, Dab, Rand, Press, andWheel. Below these buttons are a large number of sliders, beginning withHue.

The exact settings are unique to each button. For example, the Hue settingsfor Dab and Rand may be completely different.

The buttons are the factors that can affect the stroke, whereas the sliders listwhat can be affected. For example, if the Hue setting under Press is not zerothen pressure will affect the Hue.

Base - This is the set of default values. When there are no changes to othersettings 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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Dab - The Dab Settings control how the stroke changes from beginning toend. If no other factors are involved, the first dab of the stroke will determinedby 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 ofa stroke, e.g. when Base scale is set to 2.0 and the Dab scale is set to 0.5then the stroke will generate a smooth variation in scale between 2.0 at thestart 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 valuesfor a random variation, e.g. when Base scale is set to 2.0 and the Rand scaleis set to 0.5 then the stroke will randomly generate a variation in scale be-tween 2.0 and 1.0.

Press(ure) - The settings made here represent the outside values for a tabletstylus pressure variation, e.g. when Base scale is set to 2.0 and the Pressscale is set to 0.5 then the stroke will generate a variation in scale between2.0 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 tabletstylus Wheel variation (this requires the Wacom Intuos Tablet with theoptional Airbrush accessory) e.g. when Base scale is set to 2 and the Wheelscale is set to 0.5 then the stroke will generate a variation in scale between2.0 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 pos-sible settings that can affect the character of the stroke at any point. Beloware examples of setting differences between the Base and Dab over ninedabs.

Note: When tiling or using as a paint, only the base scale/rotation settingsare considered. Lock XY Saves the current XY ratio and (while selected)ignores values for Y. Also note that when unchecked, the values for Y sud-denly take effect, i.e. the current ratio is not applied back.

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THue - See the illustration below.

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 sectionto their defaults (generally chosen to be ‘no effect’ values such as hue = 0 orscale X = 1)

Use as Clone Tile Paint - Uses the current brush to clone from the currenttile image.

Reflect Tiles - Sets the cloning process to reflect the tiles at their bound-aries. Every second tile (along x & y independently) is reflected along thataxis so that adjacent tiles match end-to-end.

Use as Image Spray - Sprays a sequence of images.

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Allow Tilt - Allows Tilt of Wacom tablet’s pen to affect projection. Imagineyou are using a slide projector. Unlike airbrush, the centre stays fixed whilethe near edge of the projection is allowed to wander.

Tile Snap - This rounds the current position to nearest tile position and onlydraws a dab when the current position changes. Ideal for tiling your bathroomfloor.

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 isapplied.

Cycle Tile No. - This sets the dabs to be based on only the current tileselected and to cycle through all the tiles.

Note: Values of Tile Numbers that may have been set for other setting suchas Pressure are ignored when Cycle Tile No. is selected.

Spacing - This sets the amount of spacing between each dab, expressed asa 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. Anexception is if Cycle Tile No. is selected and Base is not. In this case theDabs 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 clickon the ‘Texture Channels’ bar to see them. The buttons labelled by achannel name control which channel is currently previewed, e.g. Color ,Bump , Alpha . The ‘File’ button opens the file requestor.

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CHAPTER SEVEN: TABLETSCHAPTER SEVEN: TABLETSCHAPTER SEVEN: TABLETSCHAPTER SEVEN: TABLETSCHAPTER SEVEN: TABLETS

Overview

Deep Paint 3D is greatly enhanced by the use of a pressure sensitive digitiz-ing tablet. In fact, some of Deep Paint 3D’s most expressive features use thechanges in pressure, pen angle and speed of movement, in a way that isimpossible to duplicate with a mouse.

This chapter does not provide setup information for the hardware, rather itprovides information on the way Deep Paint 3D works with your hardware, andhow you can use the two together.

For troubleshooting information on the hardware or hardware setup pleaserefer to the manuals that came with the piece of hardware you are trying touse.

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 ContextSensitivity data, Deep Paint 3D will process the information as follows:

Pressure Sensitivity - When you use a Pressure Sensitive tablet Deep Paint3D 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 thatby pressing hard while you are painting, your paint will be opaque but if youpress lightly your paint will be mostly transparent.

For a full list of the variables that can be affected by Pressure Sensitivity, seethe details concerning the tool you wish to use, as the specifics vary from toolto tool.

Tilt, Rotation, Velocity - Deep Paint 3D supports far more than pressuresensitivity. Any of the variables above may be used to change the way manyof the Deep Paint 3D tools respond, as you paint. The effect is to makeworking within Deep Paint 3D more akin to working in traditional media.

Context Sensitivity - Many tablets provide Context Sensitivity , that is tosay the stylus has a nib at one end and a different tool at the other. Withthese styluses, turning them upside down and painting produces a differenteffect from painting with them the right way up. Deep Paint 3D recognizes thecurrent ‘context’ of the stylus. When you turn the stylus upside down it willact 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 waspreviously. Context Sensitivity works whenever you have the Brush Toolactive.

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Wacom Features

Airbrush

The Basics - The Airbrush Tool makes use of tilt and direction exactly like areal airbrush. There are several different options for controlling airbrush heightand paint flow using the Wacom Intuos airbrush stylus with fingertip controlwheel (wheel) and tablet pressure.

Tablet pressure and the wheel can each be used to control many features ofthe stroke including, but not limited to, hue, rotation, scale, and the tile imageprojected.

In addition, a special option allows tablet tilt and direction to allow texturedimages to be projected at an angle, exactly like holding a slide projector at anangle 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 pressureto control any or all stroke parameters. You can use the stylus to dynamicallyadjust 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 mostup-to-date Wacom driver. At the time of writing, this is version 4.3, availablefrom 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 newtool 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 tabletand the stylus and airbrush tools to operate in the right hand side of the tabletare. This is done in the ‘Tablet Mapping’.

Your 4D Mouse is now ready to use.

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The Basics - The Wacom tablet has a unique way of tracking two devices atthe 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;

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 thePrimary Controller.

Keeping the pen in range of the tablet, with your left hand move the 4D Mouseonto the tablet.

Because the 4D Mouse is the second device to enter the tablet, it nowbecomes 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 thetablet. As long as at least one device is within range of the tablet, it willremember which is the Primary, and which is the Secondary Controller. Bringthe Pen back on the tablet and you will find you can move the mouse cursoragain.

Important!

If at any time you remove both controllers from the tablet, it will forgetwhich is the primary and which is the secondary - the next device toenter the tablet will be the primary controller.

In Deep Paint 3D, we want the Pen to be the Primary controller and move themouse cursor so that we can see where our next stroke will begin. It isimportant to get in the habit of always moving the pen into range before youmove 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 theWindows Cursor is following your pen.

With your pen still on the tablet, use your left hand to bring the mouse ontothe tablet also.

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You can then:

Pan

Press and hold the middle button to Pan your image.

Rotate

Press and hold the left button on the mouse andmove 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 somecases.

If you find you have lost your image, choose the Magnifying glass from theTool Palette and click “Extents” from the options.

We are currently working on support for individual pen recognition to enabledifferent pens to be assigned to different tools.

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CHAPTER EIGHTCHAPTER EIGHTCHAPTER EIGHTCHAPTER EIGHTCHAPTER EIGHT::::: CONTEXT CONTEXT CONTEXT CONTEXT CONTEXTMENUSMENUSMENUSMENUSMENUS

Overview

Context menus appear when you right click in an appropriate area. They offeranother way to quickly access the commands and functions you use mostoften. The headings below indicate the areas you should right click. All thefunctions are identical to their menu or tool counterparts.

Workspace

The workspace is the grey area that surrounds your canvas. Right clickinganywhere on the workspace brings up the following menu:

Freehand Tool

The Freehand tool draws using the currently selected brush and ink. Simplyclick and hold the left mouse button and move the mouse to draw, or pressyour pressure sensitive tablet with the stylus provided by your manufacturer.The Freehand tool is extremely simple and intuitive, just like drawing on apiece of paper or an object. For more information on the Freehand Tool, seeTutorial 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 defaultposition.

Note: To reset your lights after rotation, select the ‘Reset’ button in theLighting Tab.

You may also reset your canvas by double clicking. For more information onthe Rotate Tool , see Tutorial 1.

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Move > Pan

Moves the current selection.

The Along check boxes allow you to restrict movement to any single axis, orto allow movement in both the x and y-axis simultaneously.

Along X - When selected, this option allows movementin the X axis or ‘side to side’.

Along Y - When selected, this option allows movementin the Y axis or ‘up and down’.

Flip Horizontally - Select this button to flip the currentselection horizontally.

Flip Vertically - Select this button to flip the currentselection vertically.

You may reset your move by double clicking. For more information on Mov-ing, 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, orALT+Click to zoom out one step.

To zoom on a particular area of an image, click and drag a marquee box untilit contains everything you want to view. Deep Paint 3D then creates the bestview based on your selection.

To zoom dynamically, hold down SHIFT+drag up and down to zoom in and outrespectively. Depending on the speed of your machine, and the complexity ofthe 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 newamount into the text box. You may also select a zoomfactor by clicking on the small triangle to the right of thetext box.

You may reset your canvas by double clicking. For more information onZooming, see Tutorial 1.

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Canvas

Right clicking anywhere on the canvas brings up the following menu:

Freehand Tool

The Freehand tool draws using the currently selected brush and ink. Simplyclick and hold the left mouse button and move the mouse to draw, or pressyour pressure sensitive tablet with the stylus provided by your manufacturer.The Freehand tool is extremely simple and intuitive, just like drawing on apiece of paper or object. For more information on the Freehand Tool, seeTutorial 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 defaultposition.

Note: To reset your lights after rotation, select the ‘Reset’ button in theLighting Tab.

You may also reset your canvas by double clicking. For more information onthe Rotate Tool , see Tutorial 1.

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Move > Pan

Moves the current selection.

The Along check boxes allow you to restrict movement to any single axis, orto allow movement in both the x and y-axis simultaneously.

Along X - When selected, this option allows movementin the X axis or ‘side to side’.

Along Y - When selected, this option allows movementin the Y axis or ‘up and down’.

You may reset your move by double clicking. For more information on Mov-ing, 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, orALT+Click to zoom out one step.

To zoom on a particular area of an image, click and drag a marquee box untilit contains everything you want to view. Deep Paint 3D then creates the bestview based on your selection.

To zoom dynamically, hold down SHIFT+drag up and down to zoom in and outrespectively. Depending on the speed of your machine, and the complexity ofthe 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 newamount into the text box. You may also select a zoomfactor by clicking on the small triangle to the right of thetext box.

You may reset your canvas by double clicking. For more information onZooming, see Tutorial 1.

Reset Rotation

Resets the canvas rotation to the default.

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Reset Pan

Resets the canvas pan position to the default.

Default Zoom

Resets the zoom factor to the default.

Zoom 100%

Sets the current Zoom Factor to 100%.

Resize Canvas

Brings up the Resize Canvas dialog. Type in the new dimensions to resizeyour 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 baselayer, its color will be set to white. If it is not the base layer, it will be clearedto transparent.

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Object

Right clicking anywhere on the object brings up the following menu:

Freehand Tool

The Freehand tool draws using the currently selected brush and ink. Simplyclick and hold the left mouse button and move the mouse to draw, or pressyour pressure sensitive tablet with the stylus provided by your manufacturer.The Freehand tool is extremely simple and intuitive, just like drawing on apiece of paper or an object. For more information on the Freehand Tool, seeTutorial 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 defaultposition.

Note: To reset your lights after rotation, select the ‘Reset’ button in theLighting Tab.

You may also reset your canvas by double clicking. For more information onthe Rotate Tool , see Tutorial 1.

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Hide

Hides the object.

Hide Others

Hides all other objects in the scene.

Show Layers

Shows the Layers Sub-tab, within the Elements Tab.

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.

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Load Mask

Gives access to the Load Mask sub-menu.

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Layer Name

This menu is functionally identical to the Layers Menu. Clicking on a layer’sname brings up the following menu:

Layer Properties

Brings up the Layer Properties Dialog. Allows you to change the Layer Nameand Layer Opacity. Also gives information on the resolution of the layer, anda list of the channels in the layer. Identical to double clicking the LayerName.

Add Layer Above

Add Layer Above puts a new blank layer immediately above the layer youright clicked.

Add Layer Below

Add Layer Below puts a new blank layer immediately below the layer youright 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 CloneSource, and has the Opacity set to 30%. A layer is created above, and isselected 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

Merges all visible layers into one. Visible layers can be quickly identified bythe 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

The layer workspace is the grey area that surrounds your canvas. Rightclicking anywhere on the layer workspace brings up the following menu:

Add Layer

Adds a Layer Above, putting the new blank layer immediately above thecurrent layer.

Merge All

Merges all layers into a single layer.

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KEYBOKEYBOKEYBOKEYBOKEYBOARD SHORARD SHORARD SHORARD SHORARD SHORTTTTTCUTSCUTSCUTSCUTSCUTSKeyboard Shortcuts allow you access to commonly used menu options orother choices within Deep Paint 3D, without having to search through menusor dialog boxes. Learning these commands will significantly speed up yourwork within Deep Paint 3D.

Wherever possible, Deep Paint 3D uses the same hotkeys as Photoshop.

File Menu

New Ctrl + NOpen Ctrl + OSave Ctrl + SPrint Ctrl + PExit Alt + F4

Edit Menu

Undo Ctrl + ZRedo Ctrl + RCut Ctrl + XCopy Ctrl + CPaste Ctrl + VEdit Floater Mode Ctrl + T

Selection Menu

Select All Ctrl + ADeselect All Ctrl + DSelect Inverse Ctrl + Shift + IMove Selection V + Move mouse or stylusQuick Mask Mode Q

Selection Tools

Add to Selection Shift + Selection ToolSubtract from Selection Alt + Selection ToolRotate before Selecting Alt + Move mouse or stylusMove before Selecting Ctrl + Move mouse or stylusAngle Snap Line Shift + Move mouse or stylusDrop Floater EnterDelete Floater Esc

Presets Palette

Copy Preset Ctrl + New

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While Painting

Brush Size Ctrl + Move mouse or stylus up/downTransparency Ctrl + Move mouse or stylus left/rightBrush Aspect Shift + Move mouse or stylus up/downBrush Angle Shift + Move mouse or stylus left/right

Zoom Tool

Zoom Z or Ctrl + SpaceZoom Out Alt + Click with Zoom Tool selectedZoom Extents Double click with Zoom Tool selectedZoom Dynamic Shift + Move mouse or stylus with Zoom ToolZoom Sub-menu Right Click the Zoom Tool Icon

Tools

Eraser Tool EFreehand Tool BText Tool TFill Tool KClone Tool SEyedropper Tool I or Alt + ClickMagic Wand WMove Tool VLine Tool NRotate Light L + Move mouse or stylusRotate Tool R + Move mouse or stylus

Color Palette

Reset to default (black/white) DSwap foreground/background X

Note: If you are currently selecting a foreground color with the EyedropperTool, and want to select a background color, hold down the ALT key andselect your color as normal.

The Color Swatch

Add Color Shift + ClickDelete Color Ctrl + Click

Gestures

Undo Right Click + Move mouse or stylus leftRedo Right Click + Move mouse or stylus rightColor Palette Right Click + Move mouse or stylus upShow/Hide Palettes/Menus Right Click + Move mouse or stylus down

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Channel Selection

Color 1Bump 2Shine 3Glow 4Opacity 5

Palettes

Show/Hide Palettes TABShow/Hide Swatches F3Show/Hide Color Palette F4Presets Tab F5Paint & Brushes Tab F6Elements Tab F7Lighting Tab F8

Rotate Tool

Rotate R + Move mouse or stylusReset Rotate Double ClickRotate Sub-menu Right Click the Rotate Tool Icon

Pan Tool

Pan Space + Move mouse or stylusReset Pan Double Click

LineTool

Move Line/Polygon Ctrl + Move mouse or stylusRotate Line/Polygon Alt + Move mouse or stylusAngle Snap Line/Polygon Shift + Move mouse or stylus

Mastery of these Keyboard Shortcuts is the difference between an averageuser and a ‘Power User’. We strongly recommend you practice these hot-keys as they are explained in the tutorials, and whenever possible in your ownprojects.

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APPENDIX B: WORKING WITHAPPENDIX B: WORKING WITHAPPENDIX B: WORKING WITHAPPENDIX B: WORKING WITHAPPENDIX B: WORKING WITHPHOPHOPHOPHOPHOTTTTTOSHOPOSHOPOSHOPOSHOPOSHOP

Overview - Working with Photoshop in 2½D mode

Deep Paint 3D includes a companion plug-in for Photoshop. Although DeepPaint 3D may be used as a stand-alone program, it is designed to comple-ment Photoshop by adding artistic tools to Photoshop’s powerful editing andimage processing capabilities.

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-linemanual, but for a complete guide to an individual plug-in, please refer to thedocumentation that came with it.

Note: It may be possible to use the Deep Paint 3D plug-in with other soft-ware that supports Photoshop plug-ins, but they have not been officiallytested 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

The Plug-in Manager sits between Photoshop and Deep Paint 3D, and thisPlug-in Manager must be open for your 2½D images to move between the twoprograms. You can set the Plug-in Manager to either Send Mode or ReceiveMode 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 3DSelect 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 betweenPhotoshop and Deep Paint 3D.

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Reference

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 rightcorner of the plug-in manager, sends the image to Deep Paint 3Dready 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 Paint3D.

Preview - This window will show a preview of the image, to help youdecide which of the following buttons to select.

Fetch - Use this option to ‘force’ Photoshop to replace the currentimage in the plug-in manager with the current image in Deep Paint 3D3D. The preview will update. Functionally similar to sending theimage from Deep Paint 3D using File > Export > Photoshop .

OK - Accepts the image currently ‘fetched’ and displayed in thepreview window, and places it into Photoshop, ready for editing. It willalso close the plug-in manager.

Cancel - Rejects the image currently ‘fetched’ and closes the plug-inmanager.

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Important!

When Deep Paint 3D is used as a stand-alone program, it is able to importmost common file formats. It can also save many formats including:

AFXASCIIATTAVIBMPBRKCALSCCITT GroupCCITT Group IIICCITT Group IVCLPCUTDCXDDBDIBEPSEXIFGX2ICOIFF/ILBMIGFIMARAIMG-GEMIMG-XeroxIMTIOCAJFIFJPEGKFXLossless JPEGLVMACMO:DCAMSPNCROS/2 BMPPBMPCDPCXPGMPICTPNGPPM

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Progressive JPEGPSDSGISUNTGATIFFWinfaxWMFWPGXBMXPMXWD

Note: The proprietary .dp2 and .dp3 formats will create a sub-directory, andstore each channel in this directory as a .png file. This is the format werecommend 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 inthe Save dialog, simply type the extension, and Deep Paint 3D will automati-cally save your file in the correct format.

For a comprehensive list of the available formats, please refer to the Opencommand in Chapter 2: Menus or visit Right Hemisphere at:

http://www.righthemisphere.com

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Overview - 3D mode or Using Photoshop to editMaterials

Deep Paint 3D can send materials from your 3D objects to Photoshop forediting.

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 inDeep Paint 3D.Edit your material in Photoshop.Select Filter > Right Hemisphere > Material to Deep Paint 3DMaterial appears in Deep Paint 3D, complete with your changes.

This simple procedure allows work to be continually passed betweenPhotoshop and Deep Paint 3D.

Note: Deep Paint 3D will only send the current material from an object withmultiple materials. Also, if you cannot see any Palettes in Photoshop, simplypress the TAB key twice. Do not change the order or names of the layers inPhotoshop, 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 multiplematerials. Do not change the order or names of the layers in Photoshop, asDeep Paint 3D needs these to function correctly. Do not add new layers.

If you cannot see any Palettes in Photoshop, simply press the TAB keytwice.

The Layers will appear in Photoshop in the order they appeared in Deep Paint3D. Transparency will be preserved.

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APPENDIX C: APPENDIX C: APPENDIX C: APPENDIX C: APPENDIX C: WORKING WITHWORKING WITHWORKING WITHWORKING WITHWORKING WITH3D STUDIO MAX3D STUDIO MAX3D STUDIO MAX3D STUDIO MAX3D STUDIO MAXThe links between Deep Paint 3D and 3D Studio MAX are designed to be asseamless as possible. It is very easy to import an object for painting, andjust as easy to send the changes back to MAX.

However, the depth of detail provided by the Materials Editor in 3D Studio MAXis such that once you are familiar with the basic steps involved in importing anobject 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 thesesteps:

Create the object in 3D Studio MAXApply 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 theobjects 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 willappear.

Click ‘OK’ .

Assigning Materials

If you have not assigned a Material to the object you must to do so before youattempt 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 bringan object into Deep Paint 3D without a Material applied. The object willimport 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 asthose 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 willnot 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 youpaint on one object or sub object will appear on the other. Be sure this effectis acceptable to you, or always assign different materials/bitmaps to differentobjects. Also, if materials share a bitmap, and you choose to Replace OldBitmaps, all but one will be overwritten.

You may also specify which Materials will be exported by clicking on theExport 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 ofthe 3D painting process.

Importing Materials

If the Material you are trying to import has one bitmap assigned to it and DeepPaint 3D is able to locate that bitmap the object should appear in Deep Paint3D without any fuss. However, previously assigned Materials can have morethan one bitmap. For example, a Material we are trying to import might have aColor Map and a Bump Map.

Deep Paint 3D requires that all the bitmaps that are assigned to a Materialare of the same size. If you try to import a Material that has bitmaps ofdifferent sizes assigned to it, Deep Paint 3D will automatically resize theimages for you. The first channel loaded determines the size of any remain-ing 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.

Locating A Bitmap

If Deep Paint 3D cannot find a bitmap referenced in a Material in the file amessage appears asking if you wish to locate the bitmap manually. If youchoose to do so a standard file browser will appear and you can locate theimage requested or another image that will be imported instead.

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If you are importing a .3ds file and the bitmaps referenced in Materials in thatfile are not present in a directory pointed to by your Map Paths preferencesyou will also be prompted to locate the file. If you choose to and find thebitmap Deep Paint 3D will offer you the chance to add the directory thatbitmap is in to your Map Paths so that you don’t have to look for it in thefuture.

Timeline

Deep Paint 3D has been designed to take advantage of the animation facilitiesavailable in 3D Studio MAX. When you import an object from MAX DeepPaint 3D receives the geometry as it is at that point in time. For example, if asphere has had a ‘Bomb’ spacewarp applied to it in MAX and you import it forpainting half way through the explosion, the geometry that appears in DeepPaint 3D will be exploded. Similarly if you have an animated Twist modifierapplied to a cylinder you can import the cylinder for painting at any point in itstwist 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 atwhich you wish to import the geometry and then select the object to importand 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 StudioMAX you can send the changes you made back by selecting File > Export >3ds Studio MAX , or you can send your material to Photoshop for furtherediting 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 selectedfor export in the Material section of the Elements Palette. Please refer to theElements Palette in Chapter 3: Palettes for more information.

Note: When exporting Materials to Photoshop, and you have an existingmaterial already open in Photoshop, Deep Paint 3D will give you the option tooverwrite the current material or cancel the procedure. Please refer to theElements Palette in Chapter 3: Palettes for more information.

Method

The Method group controls the way that Deep Paint 3D will save the bitmapsit generates.

Overwrite Old Bitmaps - This option will replace the existingbitmaps. For all the Map Types you have in each Material,saves them to disk and automatically updates the Materialin 3D Studio MAX to point to the new bitmaps. As thismethod can be potentially destructive, you should becareful as to when you apply it.

Generate New Bitmaps - This method creates new bitmapsfor all the Map Types you have in each Material, savesthem to disk and automatically updates the Material in 3DStudio MAX to point to the new bitmaps. As this createsentirely new bitmaps, you will need to enter a new name inthe Prefix text box. This can be useful if you are usingbitmaps in a Material that you may want to use again anddo not want to overwrite. See New Bitmap Names later inthis chapter.

Backup Existing File - With this enabled any existing fileswill receive a suffix of _bak, rather than being copied over.

We recommend you use Generate New Bitmaps. Also see the followingentry, Auto.

The bitmaps that are created using the Generate methods are named byDeep Paint 3D to save time. If you wish to rename them manually, rememberto 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.

The next two letters define which Map Type the bitmap is for. These are asfollows:

cl: Colorbm: Bumpsi: Self Illuminationop: Opacitysh: Shininess

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If you wish to add a prefix on to the name of the bitmap to make it easier tolocate 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’.

Auto

Please leave this option enabled. With this option enabled, Deep Paint 3Dwill automatically replace any currently existing bitmaps, and generate newbitmaps if they do not already exist. The bitmaps will be saved into the samedirectory as any original bitmaps.

File Type

Choose a file format from the drop-down list. Any new maps generated willuse 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 andusing .tga files. We strongly recommend changing the format of any .tga filesto 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 identifyyour images, for example, ‘RedCar’. Try to make themshort 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

Click here to save your maps and pass them back to MAX. The MaterialEditor 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 MAXopen at the same time. They can be continually updating each other as youswap between the two.

This is particularly useful if you are painting Opacity maps, as Deep Paint 3Dcannot currently render them. Jumping between the two programs lets yourender your progress in MAX.

Tip: Paint your Opacity map the easy way. Since you can’t see the effect ofyour Opacity map as you paint it, create a New Layer Above, and create anew color channel. Paint your Opacity map by using shades of grey, anddrag the completed map from the Color Channel to the Opacity Channel inyour original layer. Lastly, Delete the layer you added. This method can beuseful for painting other channels also.

Tip: When you import your Opacity map to MAX, it will default to the trans-parent effect of glass, including specular highlights. This effect can bequickly improved by copying the bitmap in the Opacity slot to the Specularityslot in the Material Editor.

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APPENDIX D:APPENDIX D:APPENDIX D:APPENDIX D:APPENDIX D: MA MA MA MA MAYYYYYAAAAAPlease note, the information in this section is written specifically for Maya2.0.

Installation

If you installed the optional Maya 2.0 plugin with your DeepPaint 3D installa-tion, 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” directoryCopythe “DeepPaint3D.mel” file to your “Maya2.0/scripts” directory.

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Installing the Menu

Launch Maya.

From the “Window” Menu, select “General Editors”, and then “Plug-in Man-ager”.

Click the “loaded” toggle, next to “deeppaint3d.mll”.Click the “auto load” toggle if you want the Deep Paint exporter to automati-cally 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

Load an object into Maya.Use the Selection tool.

Select by Components:

Sending

Use the “Launch Deep Paint 3D” option, then use “Export Selection” totransfer your objects from Maya to Deep Paint 3D.

Retreiving

When you have finished, use the Import Bitmaps or Save All Maps fromDeepPaint 3D to return your Bitmaps to Maya.

IMPORTANT!

DeepPaint 3D will only paint on polygonal models. If you have NURBSsurfaces, use the “NURBS to Polygons” operator in the “Edit Surfaces”menu.

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APPENDIX E: SOFTIMAGEAPPENDIX E: SOFTIMAGEAPPENDIX E: SOFTIMAGEAPPENDIX E: SOFTIMAGEAPPENDIX E: SOFTIMAGE

Overview

Deep Paint 3D will allow SoftImage users to easily edit the materials on theirobjects by loading the object directly into Deep Paint 3D. A SoftImage plug-inis 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 3Das appropriate within SoftImage.

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APPENDIX F:APPENDIX F:APPENDIX F:APPENDIX F:APPENDIX F: LIGHTW LIGHTW LIGHTW LIGHTW LIGHTWAAAAAVEVEVEVEVE

Overview

Deep Paint 3D will allow Lightwaveusers to easily edit the materials on theirobjects by loading the object directly into Deep Paint 3D for painting. Thebitmaps can then be saved to the hard drive, and loaded and assigned inLightwave 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 3Das appropriate within Lightwave.

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Overview

From any 2D or 2½D window you can take full advantage of Photoshopcompatible plug-ins from within Deep Paint 3D, affecting the color, thicknessand shininess of your paint.

Note: Not all Photoshop plug-ins are supported. For a list of currently sup-ported plug-ins, please refer to the support area of the Deep Paint 3D website at:

http://www.righthemisphere.com

For a complete guide to an individual plug-in, please refer to the documenta-tion 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 CloudsSelect the channels; color, bump and/or shine .Click Okay

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Overview

For the latest FAQ visit Right Hemisphere at:

http://www.righthemisphere.com/