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Adobe Dimension: Enabling 2D Designers to Push the Boundaries of Creativity with Erin Kim


(upbeat music) – Welcome to the session. This session is called
Enabling 2D Designers to Push the Boundaries of Creativity. And just before I get started
as your probably can hear I’m a foreigner (laughs). I speak English as my second language, so I will probably have some accent. And if you can kindly raise your hand if you don’t understand me, I will try to repeat it
really slow (laughs). So thank you again for your understanding. Also another thing is that this session has an assumption that you are more familiar with 2D than 3D. So, I was trying to curate
this session more catered to graphic designers. So I hope that you are the right audience. And also, I have some sticker on my slides that has Must Know. So this is the session that
you really need to know to use our app. But I also have some parts
that say Super Pro-Tips. So if you think it’s a
little bit overwhelming it’s totally okay not
to understand that part. You wouldn’t have any problem
using our apps, still. Okay, so let’s get started. Hi, my name is Erin Kim and
I’m a Senior Product Designer with Adobe Dimension team. And if you haven’t heard
of Adobe Dimension at all, it’s a 3D visualization tool for people who might not be 3D experts. And when I tell you I design how the 3D software should work, you might actually think I’m
the guru and expert of 3D and I know everything about 3D. But that is so not true. I actually was trained
as graphic designer, and I used to practice
at branding agencies or package agency. Sometimes editorial, and
sometimes advertisement. So in other words, I was a
very hardcore graphic designer. And whenever I heard the word of 3D I kind of got very
intimidated or almost scared. And the concept of VR, AR, or
3D was really foreign to me. In fact, whenever I hear those words this is what I would think of. Does anyone know what this is? This is the very first
head-mounted display that was ever invented. And it was called Sword of Damocles. Does anyone know what
sword of Damocles is? No. Okay, so it is originated from this myth. It is referring to this sword that is hanging on top
of the servant’s head, hung by the king to teach
the servant the lesson of the burden and threat
the king has to bear. It’s such a daunting name
for a headset, a sword (laughs) and there was a reason why it was named after a sword. It was because the device was so heavy that no human head can bear its weight. And of course that’s not the case with the headset that’s out there anymore so good for us (laughs). So why was this invented in the beginning? It was not because they wanted to play Pokemon Go or some VR game. (laughs) It was because
there was a problem that they wanted to solve. The problem was this: It was really hard for helicopter
pilots to land at night. So they wanted to somehow sync
the low-light camera movement with their head movement, so that they really don’t have to danger their landing at night. And this type of problem is something that you actually go through. And you can see that the essence of this technology of 3D, AR, or VR is to help us visualize a situation without physically making it happen. And that’s something
that graphic designers actually go through everyday. Let me tell you some example. So here is an amazing American
fashion brand, Fossil. And I’m pretty sure that you’re all aware of their amazing watches that comes with this tin can boxes. Well, this tin can box is so
iconic and important to Fossil that when you actually walk into the store the entire wall will be
decorated with histories of tin can box. But this wasn’t the easiest
thing for them to design. So here was what the process was like. They actually designed
on Adobe Illustrator, and then they had to
print it out on the paper and they folded it, so that whenever the
reviewer was ready to review they had to held in their hand and then try to look at it
from all different angle. But not only this is really time-consuming and painstaking, but also this is not giving you accurate representation of how
your graphic will look like on the metal tin can. So when they were introduced to Dimension they were very excited about this idea of being able to look at their graphic from all around the angle immediately. And also you can preview how
your graphic will look like under different light condition. And more importantly, they were so happy about this idea of being able to spend more time on actually designing the tin can, rather than wasting their
time on printing and cutting for something that doesn’t
even look accurate. So you kind of get why 3D now. Yeah, 3D can be a little more helpful for graphic designers, but why Dimension? Why not other software that’s out there? And I’m going to answer
that with my own frustration and with my own journey. So, few years ago when I
was at advertising agency I had to go through a lot of mock-ups with fake Photoshop
shadow and fake lighting and then I figured it
was not really efficient. So I kind of wanted to
make the jump to 3D. So I attempted to model something in an app that’s out there and here is what I ended up having. And I actually spent weeks of
training to even mock this up. But it’s looking really gray and so kind of embarrassing to even look at it. So after weeks of (laughs)
training and effort, I just decided not to do
it anymore and I gave up. It was few years after that I eventually joined Adobe, and I heard that there was this
team called Adobe Dimension whose mission was to bring 3D experience more approachable and
accessible to everyone, and I decided to join the team. And after that I started to realize what I was doing wrong, and soon I was able to make
the jump to left to right. And that’s what I wanted
to teach you today. And also, I was able to create
all of these instantaneously. And all of these, too. And it seems like I’m not the only person who was finally able to
make the jump from 2D to 3D. These are all the quotes
from our excited users, and whenever we hear these
responses from our designers we really feel encouraged and motivated to bring the experience closer to you. Okay, so let’s really get
started through our app. So there are some concepts
that you need to understand in 3D that might be different from 2D. This has the Must Know sticker. And these are some concepts, and I’m going to walk through one-by-one. So the first one is Model. Model is something really
easy to understand. It’s basically like an object that’s like this laptop, or
this screen or speaker, mic. It will sometimes have the appearance already defined with it, or it might not have any appearance. It’ll appear just like this white clay. What defines the appearance
of the model or object is called Material. That’s what’s making this
backdrop from white to pink. Or the hot balloon thing
from white to glass. Light is something that
people really neglect a lot. Without light you wouldn’t
be able to see anything. Also it touches everything in your scene. So right now I have the same exact setup from left to right, but the color looks different. It’s not because I set up the
color different for this model but it’s because the light
has different temperature. And the most important thing you have to understand is camera. So think of it this way: Your scene will be 3D
because this is 3D software and you should be able
to navigate your scene or look at your scene from one angle to another, and you are doing that by Camera. You’re essentially moving your camera from one position to another to look at your scene
from different angles. Okay, so let’s jump into the app. Here is what the app looks like, and I know it’s a little bit
overwhelming at first glimpse, so I’m going to break it down for you. On the left side there is Tool Bar, just like Illustrator and Photoshop. On the middle there will be Canvas which is 3D space in this case. On the right side where
will be Scene panel, so when you say when creating one document you’re basically setting
up a scene with 3D models. And in the same panel it will have all the objects that is in the scene, whether it’s directly
selectable on the canvas or not. And also there’s action
panel and Properties panel that is contextual. Meaning that whatever
you have as selection from Scene panel or from Canvas, it will show relevant
actions and properties. So when you first create your document you will see something like this. Then your first question will be, “What am I supposed to place here?” And the answer is Model, the object. And in Dimension we have
a lot of starter assets that is shipped with our app so that you can actually
get started right away. You can see that this is all the long list that you have access to, and on the left side there is some package and branding related thing, and on the right side
there is some basic shapes that you can play with. And of course you want more, so through plus button you can also access to this amazing galleries from Stock. And you can see that there
are free collections too, so definitely check it out. Or you can just go directly into the stock and you see there is dedicated 3D tab and I actually encourage
you to check it out because they have amazing
free gallery created for all of you. One of which is this NASA 60th Anniversary 3D Celebration. So you can see that all of
these amazing assets are free and this is what our artist
was able to mockup in Dimension and render it out using
all of those free assets. So definitely check it out. But of course we sometimes
have other 3D people who will give you models, right? Or you might know already
how to use SketchUp and try to bring SketchUp
file into Dimension. Or you actually might have
access to any other places like Turbo Speed or somewhere on the web. And here is all of the list of files that we actually support importing, so don’t worry about it. If you don’t know any of these format I’m going to explain a little bit. So OBJ I something like JPG in 2D in 3D. It’s like the most basic file format. STL is something for 3D printing, SKP is the SketchUp file, FBX is from Maya, GLB and GLTF files are Scene format, meaning that it will not
only have just one object, but it will have multiple objects and you will have the
relevant distance preserved. And you can bring them through File menu or just drag and drop, or through this plus button. Okay, so once I bring object how am I going to place it so that it becomes a scene like this? Let me show it to you
by jumping to our app. Okay. Mm, I’m setting up so that
you can see what I’m seeing. (murmurs) Okay. Okay, great. So this is what our app looks like. Just like how I told you. And here’s my canvas. You can easily set up the
Canvas or document size by just clicking on the boundary. You can see that this is the
canvas size, width and height. Like I told you, your
Canvas will be 3D spaced, meaning that it will not only have horizontal and vertical information, but also depth information represented by x and y and z. And if you don’t know which direction is x and y and z, we actually have a little indicator. I’m going to just turn this off so that you can actually
see this little widget. You can see that there
is x, y, z direction. So when you’re actually
manipulating the object’s position, you’ll be able to do it
in all three directions. So let me show you how you
can place the model first. I’m going to use the Starter asset because it’s conveniently there, and I’m going to drag and drop. And you can see that
there’s little cyan box that is following my cursor, meaning that it will actually
place my object over there. And I can place it. You can see that upon placing it it automatically switches
the tool to Select tool. So this is what you use
to manipulate your object. And you can see that we not only have a universal tool select tool, which will actually enable you to move, and scale, and
rotate at the same time, but we also have dedicated tools, too. That will only give you
move, or rotate, or scale. But for now I’m going to
only use the Unified tool because with that you
can do most of the job. I’m going to quickly delete the coffee cup because that doesn’t go well
with all of my other objects. So I’m going to just go
here on the Scene panel I have the coffee cup selected, and I will just go to
the action button here. Okay, so let me show you how
you can move around first. You can see that this select
tool has crazy directions and a lot of handles, but don’t get intimidated. All you have to (laughs) remember is just the handle shape. So arrow will give you the move, so if I want to move in this direction you can see that I’m
moving in this direction. Not hard. Or if I want to move sideways, I can just grab this arrow handle and then I can move like this. Or you can also move by just selecting any empty part of the object, and you can see that
now I am moving parallel to my background. But here’s the thing, I actually want to place
this model onto this cube and in order for me to
do that with this handle, it’s going to be like this. Because my cube is like on here and my object is on this level. And it’s just penetrating through it. And I don’t want that to happen. And there is a simple way of doing that. You can simply grab this
little pebbled handle. We call it pebbled, this round thing. And you can see that as I am doing it it actually moves along the surface. So you can see that I can
easily place this tube. And I know that it is on top of my block because the block is
highlighted with cyan color. So I can easily do that
for this other tube, too. I’m dragging. Yes it’s there. I’m going to move it back over there, and then I’m going to
drag it again like this. So easy. Also let me talk to you about
how to rotate the object. So arrow is for move, and rotation is for circle. So you can see that there
is this circle handle in all 3D direction because it’s three-dimensional, again. And you can see that as
I am grabbing and sliding it is rotating. That’s how we are doing rotation. Or you can also rotating this way. So easy. Okay, now I have three
tubes on top of my cube. Oh! Three tubes on top of my cube (laughs). And then I’m going to also
going to place this perfume on top of this sphere, by again grabbing this pebbled handle. So I am going to slide it and you can see that it is coming along. But here’s the thing, this is so tiny and I don’t want the perfume
to be so tiny like that. You can control the size of it by just going to this Properties panel and you can see that it
gives you real worth in unit but I’m going to just use
this tool again to scale it. And because I want it to
be proportionately scaled, I actually had it locked here. It means that you will
always proportionately scale. So I’m going to grab
square handle this time. So circle for rotation, arrow for move, and square for scale. So I’m going to scale it and now it is uniformly
scaling and it’s looking good. Okay. Here’s the thing though, I don’t like how my tube is
not really aligned to anything and it’s kind of everywhere, and I want to align and distribute evenly. And you can do that. So here I have three tubes
selected with Shift + select. And you can see that in the action panel there’s Alignment and Distribution. You can simply click on it and you can see that, again,
you can align and distribute in all these different direction. In this case I want it
to be aligned along here, so to align something you can just hover on
this tear drop handle and it will give you cyan plane where your object will be aligned to. So I’m just going to click on it and you can see that my
tubes are now aligned. But it is not evenly distributed, and I want it to be evenly
distributed along this axis. So I’m going to just simply click on it. You can see that on the
tool tip it says Distribute. So I’m just going to click on it. And now it is evenly distributed. But there is something more
fantastic about this tool. Let’s say that I actually
don’t want any distance between the tubes and I want the distance to be zero. Then you can do that by
simply double-click on this. And you can see that my object
is now touching each other. But now that I think about it, it’s a little bit touching too much, a little bit (stammers). No, suffocating. Sorry (laughs). And I want to kind of distribute a little bit more evenly
and put more space in between the tubes. So I can do that by dragging
this online handle like this. So you can always readjust the
distance between the object by just playing with these handles. And you might now wonder, “How am I supposed to brings
all the graphic on the tube “and why isn’t looking great?” And that’s what I’m
going to talk about now. Okay, so I’m going to
switch my mode again. Okay. Okay, great. So now that you know how to place model and how to transform it, and how to align and distribute, let’s talk about the most exciting part: how to define the look of it, and why I was able to make
the tube in such a color with such graphic. If you’ve already forgot
the term to describe what the appearance of the model is, it is called Material. And to add material you have
to first select Material. And you can do that by simply
double-click on any object, or you can also hover on the Scene panel on the name of the object and you can see that there’s little arrow and you can just click on it. And you can see that my status
of Scene panel has changed so it’s Material that is selected now. And I can see the Material properties. I can also have the object selected by just clicking that button. I can also just go to action panel and click on this Edit
Material action button. So what can I do with Material? First you are already
guru of graphic design. You can just place graphic
on top of your model. Let’s say that I have a shopping bag here and I actually want to
have this rounded logo on the face of the shopping bag, and I want my shopping
bag to have some patterns. In Dimension this is so easy. So you can simply drag
and drop your graphics from desktop or from CC libraries. If you do it in CC libraries
it will always stay in sync. Or you can also copy and paste
from Photoshop or Illustrator and you can Edit them back. So I’m going to simply use CC libraries. I can access to CC libraries
through this plus button or you can see that I have
access from the drawer. And I am just dragging and
dropping the graphic layers. And you can see that it
is placed as a layer, I can place as many layers I want. And just like any other layer you can actually reorder it so that your graphic goes on top. And I can also scale it and move it along the
surface of the shopping bag. It’s so easy. And I can also change the placement mode so that it actually becomes the fill mode. It’s wrapping around entire shopping bag and I can also scale the pattern of it. But it’s just not the shopping bag with your own logo and pattern that you can use this function for. This is what I was able to create one day after I started using Dimension. And this was so easy to create. So I first painted some
patterns using Photoshop Brush and now you can do with Fresco because it will actually
give you some simulation. And I’m really excited for that. Anyway, I created some patterns and I had it synced to CC libraries. And I just placed these
layers on top of my capsule. So you can see that I just
placed like three layers and then I’m just scale it and rotate it. I can just manipulate any way I want. And I can do it independently per layer, because it is individual layers. But there’s a little
bit more exciting thing about being able to place multiple layer and control it individually. You can actually assign
different effects to each layer and it will give you the capability of doing something like this, a foil stamped logo. And I know in order for
you to actually do this in print shop you have to pay a lot of money or you can’t really do this in Photoshop. So here I have two floating canister, and I actually want the number
part to be foil stamped. So I have it as a separate
layer as you can see on the right side in Scene panel. And now I am just sliding over
Metallic in the properties and you can see that it is
starting to look different from the rest of the material. So now you learned how to
place multiple graphic layers and the benefit of having multiple layers. You can transform it individually, you can also assign different
effects to each layer. But here’s the thing, here I have a coffee bag
and I have multiple layers. I can cover my entire coffee
bag with all of these layers, but that doesn’t mean that
the coffee bag is made out of these layers. It is actually made out of the paper, and that’s what we call a base material. Graphic Layer is something that
you put on top of the model whereas Base Material defines what your object is made out of. In this case it was brown paper. So where can you get Base Material? You have the Starter
assets shipped with our app and of course you will have
a lot of Stock assets, too. And you can see that when you’re scrolling the Starter asset, we support two different type of material. One is Adobe Standard Material, the other one is Substance Material. And we see that they have
this special setting icon. And I’m going to talk
to you the difference of these two materials. But first I want to talk
about Adobe Standard Material because not only because
it’s powerful in its own way, but also this will be
the default material. So here I have three computers and they look exactly
the same for the color, it’s all green. But it is actually a little bit different when you look at closely. You can see that middle computer it has the reflection
of the glowing monitor. It’s because the surface is very glossy. It’s not rough like the top
monitor or top computer. What about the bottom computer? You can see that the
case is almost looking like it’s made out of metal. It’s because material is
defined with not just color, which in this case was green, but also defined with all of
these different properties. You can kind of imagine
what each thing does by its name, right? Roughness is something that you would use to control how rough or
glossy your surface is. Metallic is something that
you would use for metal. You can also use translucency for mock something up like glass. Normal might be a little
bit foreign to you, it’s something that would
define the bumpiness of your surface. So back to these computers. Now you can kind of
see how I mocked it up. The middle computer, the
case looks really glossy because I had Roughness at 0%. Whereas the bottom computer
I had Metallic at 100% so that’s why it looks
like it’s made of metal. And just keep in mind
that these properties can not only be defined
by numbers with slider, but also can be defined
by black and white images and in this case they will be used to mask some of these effects. Just like how Channel
Mask works in Photoshop. So let me show you how I created
this computer from scratch. I have the computer placed in my scene, and I’m going to go to
select the material. Now I am in Material selection, you can see that I just
opened the base color because I wanted it to be green. So I am going to just
slide this color picker and then make it green. Okay, great. And then I’m going to control Roughness so that it becomes really rough or glossy. Or I’m also controlling Metallic so it’s looking really metallic
or not metallic at all. But here’s the thing, now my entire computer is green and that doesn’t look really good. I think monitors should be at least white and it should probably emit some light because that’s what monitors do. In other words, I want
two different material assigned to one model. We also call this Material Region. I want two different Material
Region for one model. I can simply do this by
clicking on Magic Wand Tool. And I know that in
Photoshop, Magic Wand Tool selects pixels of similar color. But in this case, it will
select some parts of the model that actually makes sense as a chunk. So here I have Magic Wand
right under select tool and I’m going to just click on this. And you can see that it
has some tool options. I can also set tolerance. I’m going to click on this monitor screen, and you can see that it’s
analyzing my geometry and then select the part. I can simply drag and drop
Glowing Material to there. And I also want to bring
some characteristic to this computer, so I’m going to just
place my graphic layer by dragging and dropping. You can see that my computer
now has some cute face. I can kind of scale it
and then place it again. Okay, so now I know how to mock this up. But maybe you might want to
start creating your own material from the beginning. And you’ll probably want to have some more sophisticated material. And that’s why we ship with this presets, or you have access to all
those Stock Material too. So you can see that the
way you apply this preset you can simply drag and drop. And you can see that the
property panel is not changing what type of properties it has, because Adobe Standard
Material will always use consistent sets of property. And these properties can be masked, again, with black and white images
like it is doing here. And I can simply just change
to something like Metal. And you can see that the
Properties didn’t change but it just has different image input. And if you kind of find it
a little bit more confusing to understand, all you have to remember is this: Because the input is made out of images, it actually means that you can also customize these Material by swapping out with your own graphic or you can also modify the
image input with Photoshop. So this might be a little bit more wordy and, “Oh, I don’t know
what this actually mean.” It’s not that confusing so let
me actually show it to you. Okay. So I have a computer that I have the preset material applied to. And this is Adobe Standard Material, so it will have the base
color and other properties. And I actually don’t
like this burgundy color because it doesn’t go well
with my green background and I actually want to customize it. So I can do that by opening up this Base Color color swatch and then you can see
that it has image input. And there’s Edit button. So I can click on this Edit button. You can see that it will
actually open up Photoshop. And with Photoshop you probably all know how to make it green because you are the experts at that. And you can throw some
(mumbles) saturation layers and stuff. So when I save it back you can see that now my
computer is looking green. It was that easy. And in fact, I was actually able to create all of these five variations of cloth from just one simple
Adobe Standard Material. That’s the power of it. Well we also support Substance Material which is .sbsar. And how is it different from
Adobe Standard Material? So Substance Material has
its own unique properties and it actually lets you
customize the material with control specific to each material. And these controls can be
very fun and very powerful so let me show it to
you a little bit later. So here I have leather
under Substance Material. It’s both leather but you can
see that inside Properties it is having different controls. That’s what’s different
from Substance Material to Adobe Standard Material. So what type of exciting
controls do they have? Here I have an alphabet model which, again, is also free
from Stock so go get it. And I’m going to just scroll down to apply this substance material. And you can see that it has
some stitch and leather. I’m going to scale by using repeat so that you can actually
see the part better. And I’m going to just change
the color of the leather by clicking on the swatch
and applying some green. And I am also going to
play with some stitch so that it becomes double to single, and also I’m going to
rotate the stitch direction. Or I can also make it
really thick or long. It is all possible because
this Substance Material actually came with these controls. And in fact, I was able to
create all of these patterns not because I designed it but it actually came with the controls for each Substance Material. And if you’re curious about
how to actually make this, I also have blog posted
for 36 Days of Type so that you can actually
participate in 3D. And you will have all the
step-by-step tutorials for all of these. And if you’re curious these
are all the free assets you can get. Anyway, back to the
(laughs) Substance Material. So where can you get more? That will always be the question. And this is the two
websites that you can get. Thesource.substance.3d.com is running on subscription based, whereas share.substance.3d.com
is community based. Meaning that, again, this
will be free so go get it and get the power of Substance Material. I know we talked so much about Material so I’m going to just recap it quickly. So first, you can place graphic layers which can also get edited back
to Photoshop or Illustrator and you can actually place it, not only as a decal but
also as a fill mode. So that you can actually have
it all go around your object. You can also define what
your object is made out of using Base Material. And we have Adobe Standard Material which will always have
consistent sets of property with image input that you can
edit them back in Photoshop or you can also use Substance Material. Okay, now I know how to
place model and arrange them. I also know how to define the
look of it using Material. Now it’s time to talk
about how to actually place my model into the context. And this is quite easy
and fascinating part, too. Well you already have
taste of Good Photography because you’re all designers and all you have to do is
just apply it as a background. So this is something that
this amazing designer did, and in order to photo shoot this it’s going to take a lot of time. You have to make this
yummy looking sandwich, you also have to hire a photographer, and also you have to set up your studio, and you also have to print out the label. It’s going to take you
some hours or weeks. But the power here is that this was actually rendered in Dimension. And the only thing
that’s 3D here is the can and everything else was photography. And in fact, this designer
shows how powerful this function can be. In order for you to make
all of these variations in photo shoot that’s
going to take you weeks. But in Dimension you can do
it like in a very quick way, because all you have to do is just swipe out background images. So how can you do that? Here I have a 3D model and I want to place it on
this photography background. So I have this model placed on my scene, and I’m going to just drag
and drop this photography. You can see that it is
placed as a background. But right now it’s kind of looking wrong because the camera that I’m
using to look at my scene or my car is different from the camera that was used to shoot this photography. And I can quickly fix that because it has some
horizon line in Perspective and with our machine learning algorithm we actually detect those. So you can see that we have
this action button called Match Image, and I can actually opt in
and out of some options and I’m going to ask it to
match my camera perspective. And here I click OK. And not only my camera
is now looking right, but also we generated the
light from this image, so that my car actually looks like it’s sitting on this road. But of course we are all creatives. Some people really take this
function as far as this. The first example of the (mumbles) shows you how efficient 3D can
be compared to photo shoot. But something like this
actually shows you how what’s not possible in reality can come to life with 3D app. Or something like this. I mean the model that is
used here is very basic shape but combined with right photography it actually looks stunning. Now we covered the very basic flow of 3D and it’s time to talk
about a little bit more of those function to become the 3D designer. And the thing that I want
to talk about is Camera and this is a Must Know function. Because this is what you use to look at your scene
from one angle to another. And while this sounds a
little but more intimidating it’s kind of not, so don’t get scared. So you can manipulate your
camera with Camera Tool and the shortcut is really
easy, it’s just one, two, three. As easy as one, two, three. And you can see that we
have some Control Bar that has very, very important functions. And also you can select
Camera in the same panel and you can control the
properties of Camera with Precision in this input. Okay, so let me first show you tool first. Here, I have Orbit Tool
selected on the Tool Bar which is the first one, shortcut one. You can see that I am
orbiting around my scene, looking at it from different angle. I can also choose Pan Tool, which is two, and I am now looking at my
scene from sideways, like this. I can also switch to
Dolly Tool which is three to zoom in and out like this. So that’s how you look at your
scene from different angle. But here’s the thing, let’s say that I actually
want to edit this material of this red ball that I selected. Right now it’s a little bit too far and I actually want to
take a closer look at it when I’m changing its color. And in order to do that maybe I have to switch
between different tools. I first have to zoom in, and then I have to pan it a little bit. That’s a lot of steps involved, and there is a very easy way
of doing this automatically. So first, you have to have your
object of interest selected. And all you have to do is just hit F key, or you can also go into Control Center. So I have the object selected now here. You can see that I am just clicking on this action button Frame Selection, and you can see that my camera is moved so that the object of interest
is at the center of my view. And now I can just
easily edit the material while I am looking at it. But after I’m done with my edit this is not giving me much view, right? All I can see if very big green sphere and I actually want to go
back to the view that I had. And you can easily do that by click on this Camera Undo which was right next to Frame Selection. So you can see that I
can go back and forth for the camera movement without canceling the edit
that I made for Material. And since you are going to
move your camera around a lot while you are editing your scene, you will probably wonder if there’s a way of saving the camera position. And you can do that, again,
at the Control Center by clicking on this Bookmark. So you can easily open
this up and hit F button and I’m going to name it as Home. And that way when I’m lost
with my scene like this I can always go back
to the Camera Bookmark and just click on it. But this is not the
only thing that’s useful about Camera Bookmark. It can actually help you
render this 2D graphics from different angles like this. Because, for example, I have
this crazy bumpy surface that I have on my sphere, and I probably want to show
that off when I render it out. So you can do that by
saving Camera Bookmarks. So I’m going to adjust my camera so that I actually have
this bumpy surface sphere at the center. I’m going to zoom out a little bit and then I’m going to save
that as my Camera Bookmark. Now I am going to Camera Bookmark which is at the Control Center then hitting plus button. And I’m going to name it as Detail. So in this case when I am
ready and go to Render tab you can see that my Camera
Bookmark is saved under Render. So you can render all of
those different views. So now that you know the
basic function of the camera, let’s talk about how we can
actually design with it. And here’s an amazing photo
shoot of some package design and you can see that I want to talk about the left photography. And while there is so many
things that’s going on, you kind of know what the
hero of this photography is. You can see that I have
this label that’s unfocused and everything else is blurred. That’s how I know the hero. And you can actually do
that with our Camera Tool by using Focus and Blur
to create not only depth in your scene, but also indicate what
you have to pay focus to. So it’s not that difficult. Here you can see that I have
Camera selected on my Scene, and I’m going to turn
on Focus in Properties. And as soon as I do that you can see that there
is this Focus icon placed on the nearest object. I’m going to place it a
little bit differently, and then I’m going to also
increase the blur amount. And you can see that I
am previewing my effect. You can turn off the preview by going to Control Center again. I’m going to turn it on so that you can actually
see what I’m doing. And while you turn off the preview it doesn’t mean that the
effects will go away. It’s just making your screen crisp. But when you’re rendering it
the effect will still be there. You can also reset your focus point by going to this action button. And you can also touch on
any surface of the object and it will automatically refocus to that object that you just touched. So I’m going to do this couple of times so you can actually see what’s happening. Oh, sorry. My video actually screwed up (laughs). Sorry about that. Fast forwarding. Yes, okay. So I’m going to reset it so that now the focus is at
the back of my sculpture, or now the focus is on the right side. But this is not the only thing that you can do with Camera. You can actually create some isometric art by using Field of View. And if you don’t know
what isometric art is this is some examples. It’s a particular view of 3D that doesn’t have any vanishing
points or perspective. So you can do this by
controlling Field of View. So you can see that I
don’t have anything placed in my scene, so that you can pay focus on this grid. And as I am moving the
field of view really lower my grid is looking really parallel. But as I increase it, you can see that I am
having vanishing point and my perspective is really distorted. So when I rendered this out you can see that when I
have my camera perspective field of view at high, at like sixty-something, my perspective is having
some vanishing points and that’s why the blue line
is not looking parallel. But when I actually lowered it, you can see that my blue
line is now becoming parallel which will give me this isometric method. Okay, so we talked about
most of the design elements except one thing. Do you remember what the last thing is? – [Audience Member] Lighting! – Oh my God, you got it right! (laughs) Dang I thought no one was remembering it so I was going to give
you some hint images but you got it so okay. Well, (laughs) here are
some photography hints that I was going to show you. You can see that this one doesn’t have any crazy material or whatever, but the left photography is so effective. Why? Because the lighting was casted right. And also the shadow was in
such a dramatic perspective and direction to show off this spiky legs. Or what about this one? I mean the scene is really
sort of simple, right? It has this orange wall,
it has this little vase, but it’s the shadow that
is casted by the light that is really adding some drama. So yes, the answer was right, Lighting. So everything I’m going
to talk about lighting is considered Pro-Tips, because we actually have by
default an environment light. I always mess up
pronunciation, environment. So please (laughs) forgive me on that. So you are going to have hard
time messing up with light. But there’s only one thing
that you can actually mess up, which is turning off the light like this. (laughs) And you would lose
visibility to your object and your scene wouldn’t be editable. But you can simply turn it back on, or if you happen to throw it away just go back to the Starter asset and just take it back on. Then that’s the only thing really need to know about Lighting. For those who actually want to use light as your design element, I’m going to talk to you in detail. So we have two different type
of light that we support. One is environment light,
which by default we will have. But also you can add as many
directional light as you want. So environment light will be
always one per environment, one per scene. But directional light you
can add as many as you want from the Starter asset. So what it is is, well environment light is image-based light. And this image is panoramic image that is spherically
surrounding your scene, meaning that it is going to
cast light from everywhere. And it will have some
high detailed reflection coming from this image detail. And because it is coming from everywhere, it is great for brightening
up your entire scene. Whereas directional light is only coming from one direction. It will cast long directional shadow. And of course you can add as
many as you want, like I said. So what does it actually look like? I have a sphere and I set up the material so that you can actually
see the reflection of it. And I have the Directional
Light turned off so this is only Environment Light. So just don’t get fooled because I have some reflections going on because I don’t have
anything else on the scene. But when I rotate the light you can see that the
reflection is changing, and you can see that reflection
matches with this image. So when I change the light, you can see that the color has changed, reflection has changed. I can also brighten it up or make it dark. Whereas Directional
Light, you can already see that there is this long directional shadow because this light is only
come from one direction. Not like Environment Light. And I have more exciting Properties here, so if I rotate it, you can
see those shadow direction is changing for this light. You can also control the height. You can make it big or small. You can also control the
softness of the edge. You can also change the shape of it, so you have way more control
for Directional Light. Okay, so now that you know
what type of light we have, how can you actually use
this as your design element? First, light casts shadow as you see for our previous examples. And you can actually use
Shadow as part of your design. So here I have a scene set
up exactly the same way except one variation, which is light. And I actually like
the middle one the most because it kind of implies that I have to only pay focus on
this front business card, because it has all the light
casted onto the surface, but the rest of the
variation which is flying it is actually in the shade. And it kind of tells you the story. The right one it is having
some interesting shape of shadow, but I don’t know about this one. I think it has a lot of elements going on, but it’s your preference. So how did I set this up? First, I set up the
business card variation by having one Illustrator file with five artwork. That way I don’t have to manage all this different variations of files. And then I had it synced
to my CC libraries. So, when you actually
select the Material layer and change the artwork, you can see that I can quickly
explore different variations. Now the important part: How can I see light? Or how can I control light? I strongly recommend that you actually turn on Render Preview. And while I’m going to talk
about Render Preview shortly, all you have to know right now is that it will give you
accurate representation of what your final 2D
graphic will look like. So when I turn this on, you can see that my scene
is turning really realistic. And I just tuned off the
Directional Light, you can see, and you can see that my Environment Light is evenly distributing the light. It really doesn’t have strong contrast between the bright part or the dark part. But when I turn Direction Light back on and then turn off Environment Light, you can see that I have
such a strong contrast going on with Directional Light. It’s because I set up the wall so that it actually
blocks Directional Light. Because Directional Light, again, is coming from one direction, so I can block the light with some walls. So how I set up the wall
I’m going to show it to you. I’m going to turn off the Render Preview, and you can see that I have this walls. And this type of having some
walls to block the light is very common in 3D. So this way … Oh! Sorry about that. My PowerPoint is not helping me (laughs). Okay. So in this way, when I
actually rotate Direction Light you can see that my shadow is moving, and that way I can actually control what part of my scene
is having some shadow. You can see that when I
turn Render Preview back on now the shadow is casted from this column because my light has
changed its direction. Now I have some interesting
shadow going on. But that’s not the only thing
that you can do with light. So here you can see that
the designer’s intention was to bring out this smooth
silhouette of the bottle. And you can totally do this with light because light reveals shape and you can actually use Highlight to bring out the object’s
shape or material. So this is something that
I rendered in Dimension which I’m going to show you. So here I’m going to set up
my environment background. So that it becomes dark. So that I actually have the white object really popping out with big
contrast between the background. I’m also going to turn on
Render Preview, like this and I’m going to turn
off Environment Light because I want to use just
the Directional Light. You can see that I actually
added one directional light and it is coming from this right side. Or, yes! Right side. I’m going to place one
more light like this, and then you can see that it is placed in the same exact direction. And I actually don’t want that because now it’s only
the tail of my stripe that is getting really bright. And I want some light
casted on this front part of my stripe. So I can actually change where the light is getting casted on by clicking on this action button. And I can also click on
the surface of the object so that it actually brings
Highlight right under my cursor. And you can see that the
light is getting adjusted to follow my mouse cursor. And I can release it, and it will place the light there. But it’s a little bit lacking drama and I actually want the thin
edge that is flowing like this to have big highlight. So I’m going to add one
more light, like this. And then I’m going to go
to the action button again place light on the edge, like this. And I can increase the intensity so that it really becomes white and it stands out. So that’s how you control the light. Okay, we go through all the elements that you can use for 3D, and now it’s time to talk about sharing. And you can share in
both 2D rendered image and 3D Scene. So first you have to understand
a concept of rendering. And I kind of talked about
it in the Lighting session. If you don’t know what rendering is, it’s a process of deciding which pixel to show on the screen. And when you’re interacting
with your scene, it actually gives you very
quick, real-time rendering. And we actually call it Real Time Render. But when you’re finally
outputting your image, we want to represent your
scene more accurately. And we use something called
ray tracing rendering. And you can kind of preview what your rendered image looks like by turning on Render Preview
like I did for Lighting. You can see that my scene
is becoming more realistic. But even in this mode,
with Render Preview on when you start interacting with your scene you can see that I am now
manipulating my camera to look at it from different angle, and you can see that we turn
to this fast rendering, again. And as soon as I am done with interaction it will just go back to
this realistic rendering while I’m in Render Preview. So just make sure that
you like your design before you render out. You can see that in the Render tab you will have all of the Camera
Bookmarks that you saved. We also have Cloud Rendering and we will give you
certain credits per month. I actually forgot how many credits, but you can ask any of our staff for that. And it will always refill a monthly basis. Also if you have Nvidia Artist GPU card we now support GPU rendering,
so go check that out. Otherwise, you will always
use CPU rendering for now. And you can see that we
have two different options of file format. PSD and PNG. And I kind of recommend that
you always do it in PSD. It’s because, as you can see, it has some more additional layer. And these layers actually
help you make some selections. So let’s say that I actually
want to just select the laptop or just Dn logo. I can easily just go to Magic Wand Tool and select the different colored part, which is in Material Selection
or Object Selection Mask. But your scene is in 3D and flat images aren’t as cool as 3D. So let’s say that I have
this amazing artist friend called Vlad, and he’s actually the one who
set up the Terminator section if you haven’t seen it, go check it out. But anyway, he rendered this in Dimension using some background image. And it was looking so awesome and I wanted to take a
look at this spaceship from all different angles, so I asked Vlad. So Vlad had the same setup like this and all he had to do is
just go to the Share button. And you can see that we
have some options to publish as 3D scene or you can also export it to Arrow. So he’s going to just
publish as 3D scene now. And then what this one is doing is that it will upload your file and then convert it to GLTF
which is another file format. And also it will actually
host it on the web viewer and it will give me the link. So now it is uploading and preparing. And let’s say that I got the link, okay I got the link. So I’m going to open it
up in the web browser and you can see that it has all the different Camera Bookmarks
that came from his scene, or I can also explore this 3D spaceship on my own interaction. But this is not the
only thing that he did. He actually had a chance to
come to our Times Square office and look at this amazing view, and he actually wanted
to have the spaceship floating around this
Times Square building. So he used Adobe Arrow
to place his spaceship in Times Square. (dramatic music) So that it actually looks like
it is flying on Times Square. This is something that you’d
never be able to do in 2D. Okay, so I’m done with my
session with this part. I know I talked so much today. I’m really thankful that you
stayed all the way through. If you forgot everything,
that’s totally fine too. (laughs) You can always go to this Start screen and just go to the Learn, and you will have our in-app
tutorial following you. And I want to end my
session with this quote. “Art is man’s constant
effort to create himself a different order of reality from that which is given to you.” Well, we have an ultimate
limit when were are giving physical forms to our imagination, which is reality. And what we design always has been based on what was possible in reality. But the world that we really want is based on our imagination. And that’s what essentially motivated me to jump into 3D. To free my creativity, so that it’s no longer bound to reality. And I really hope that
Adobe Dimension gives you that freedom to you, too. Okay. Thank you so much. (audience applauds) Any questions? Yes. (person in audience speaks) Mm-hmm. Yeah, so we don’t support it yet. It is called Cooking, but we are looking into that. Any other questions? Yes. (person in audience speaks) Oh, okay! So you can actually set
it up by document setting. So I can actually show it to you. Oh also, feel free to
pick up my business card that’s up here before you leave here. There’s cards here. I’ll just place it here. Anyway. Okay. So, let me share the screen. Okay, so here you can
see that when you click on this outward boundary, you can also set up the
resolution and canvas size. And if it’s you graphic
that is looking pixelated, we actually address that issue for 3.0. And also your texture or
graphic can be set up as, because maybe your canvas are
2000 by 2000 or 1000 by 1000. And that will actually
give you better result. Yes? (person in audience speaks) Yes. I’m going to set up a new scene for that. Okay, so I’m going to
place the sphere here and then I’m going to add
the light, Directional Light. Here at the Starter asset. And I’m going to have
this Directional Light. Right now I have both of the lights so that’s why it’s looking super bright. I’m going to just simply click on here. You can see that with Directional Light there is this action button and with this action button you can actually click on
any surface of the object and it will automatically move your light so that it casts light
under my cursor, like this. And depending on your material you will see that this
is not really giving me like a huge contrast, because it has very smooth surface. You can also turn on Render Preview so that you can actually
see the real effects. And right now it is also
having the background reflected and bouncing the light back, and that’s why it is looking light here. But that’s why you always have
to turn on Render Preview. Did that answer your question, yes? (person in audience speaks) Edit or add? (person in audience speaks) Oh! (person in audience speaks) No, so with 3.0 we actually ship with it. So you should just update your software. (person in audience speaks) So we have a prototype
that is being developed. So we have a project that was showcased couple of years ago at Max, which was called Fantastic Fold. And it basically is something
like you give the guideline and you will actually give
control over how to fold it. So we have that in development. (person in audience speaks) So you should be able
to use them together. Right now we have it
just on the web browser because we are still trying
to make the machine learning work faster with a lot of sample. But once it’s ready it will
be part of the product. And it should be work with Dimension. Yes? Sure. Do you remember which one that it was? Oh this one! Okay, okay. Oh, oh no. Sorry. This one. Hi. (person in audience speaks) We don’t have any
specific controls over it, it will be always the three axis based. But we also showcase
something called Shape Shift couple of years ago. We technically understand
the semantic of the objects, so for example when I am actually increasing this it might not increase the (mumbles) because that’s what you
shouldn’t be increasing. Or if I added like some of the edge then it would actually
reflect it symmetrically because it has two symmetrical elements. Oh, yeah! So we actually have something
coming up this year, very soon. (person in audience speaks) Yes, that is being discussed, too. Yeah. I would love to have that this year but we couldn’t ship it yet, so. Any other questions? Yes? Mm-hmm. So, because it’s 3D space the father your object is
the smaller it will look. But the real size of that object, when you actually bring them
back to closer to your Camera, it will stay the same. Yes? (person in audience speaks) Yeah, so that’s our biggest request. Being able to model, but we don’t have a modeling solution yet. I think it’s also because of how broad the modeling can be. Like it can be hard surface modeling, it can be vector extrusion. And we are highly interested in supporting at least vector extrusion, or being able to create
something from Byline because that’s the
target that we are using. But also within Adobe we are very interested in providing our own modeling solution. But we haven’t decided
where it will live yet. (person in audience speaks) Yes, this support SketchUp file. (person in audience speaks) Yes. Mm-hmm. (person in audience speaks) Yes, yes. Any other questions? Yes? Mm-hmm. Yes, we are looking into
supporting all the CAD file. Like CAD formats this year (laughs). Right now there should be a conversion from vector CAD file to polygonize it. So you have to use a file
convertor service somewhere. But we are looking into it so that we can actually
support it more robustly. Any other question? No, okay. Thank you so much. I hope you find this helpful. Thank you. (energetic music)

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