Photoshop

3D object and camera tools

The 3D object and camera tools become active when a 3D layer is selected. Use
the 3D object tools to change the position or scale of a 3D model; use the 3D
camera tools to change the view of the scene. If your system supports OpenGL,
you can also use the 3D Axis to manipulate 3D models and cameras.
Move, rotate, or scale a model with 3D object tools
You can use the 3D object tools to rotate, reposition, or scale a model. While you
manipulate the 3D model, the camera view remains fixed.
Note:

For tips about each 3D tool, choose panel Options from the Info panel menu  ,
and select Show Tool Hints. Click a tool, then move the cursor into the image
window to view tool details in the Info Panel.

3D object tools and options

A. Return to initial object

position B. Rotate C. Roll D. Pan E. Slide F. Scale G. Position menu H. Save
current position I. Delete current position J. Position coordinates 
1. In the Tools panel, click a 3D object tool, and hold down the mouse button
to select from the following types:
 

Note:

Hold down Shift as you drag to constrain the Rotate, Pan, Slide, or Scale
tool to a single direction of movement.
 

Rotate
 Drag up or down to rotate the model around its x-axis, or side to side to
rotate it around its y axis. Hold down Alt (Windows) or Option (Mac OS) as
you drag to roll the model.
 

Roll
Drag side to side to rotate the model around its z axis.
 

Pan
Drag side to side to move the model horizontally, or up or down to move it
vertically. Hold down Alt (Windows) or Option (Mac OS) as you drag to
move in the x/z direction.
 

Slide
Drag side to side to move the model horizontally, or up or down to move it
closer or farther away. Hold down Alt (Windows) or Option (Mac OS) as
you drag to move in the x/y direction.
 

Scale
Drag up or down to scale the model larger or smaller. Hold down Alt
(Windows) or Option (Mac OS) as you drag to scale in the z direction.
Click the Return To Initial Position icon   in the options bar to return the model
to its initial view.
To numerically adjust position, rotation, or scaling, enter values on the right side of
the options bar.
Move the 3D camera
Use the 3D camera tools to move the camera view while leaving the position of the
3D object fixed.
Note:

For tips about each 3D tool, choose Panel Options from the Info panel menu  ,
and select Show Tool Hints. Click a tool, then move the cursor into the image
window to view tool details in the Info panel.
 3D
camera tools and options

A. Return to initial camera

position B. Rotate C. Roll D. Pan E. Walk F. Zoom G. View menu H. Save
current camera view I. Delete current camera view J. Camera position coordinates 
1. In the Tools panel, click a 3D camera tool, and hold down the mouse button
to select from the following types:
 

Note:

Hold down Shift as you drag to constrain the Rotate, Pan, or Walk tools to a
single direction of movement.
 

Rotate
Drag to orbit the camera in the x or y direction. Hold down Alt (Windows)
or Option (Mac OS) as you drag to roll the camera.
 

Roll
Drag to roll the camera.
 

Pan
Drag to pan the camera in the x or y direction. Hold down Alt (Windows) or
Option (Mac OS) as you drag to pan in the x or z direction.
 

Walk
Drag to walk the camera (z translation and y rotation). Hold down Alt
(Windows) or Option (Mac OS) as you drag to walk in the z/x direction (z
translation and x rotation).
 

Zoom
 Drag to change the field of view of the 3D camera. Maximum field of view
is 180.
 

Perspective Camera (Zoom only)

Displays parallel lines converging to vanishing points.
 

Orthographic Camera (Zoom only)

Maintains parallel lines without convergence. Displays the model in accurate
scale view without any perspective distortion.
 

DOF (Zoom only)

Sets depth of field. Distance determines how far the in-focus field is from
the camera. Blur obscures the remainder of the image.
 

Note:

Animate DOF to simulate camera focusing effects.

In the options bar, numeric values show the x, y, and z position of the 3D camera.
You can also edit these values manually to adjust the camera view.
Change or create 3D camera views
1. Do one of the following:
 

o Select a preset camera view of the model from the View menu.
 

Note:

All preset camera views use orthographic projection.

 
 o To add a custom view, place the 3D camera in the desired position
using the 3D camera tools, then click Save in the options bar.
 

Note:

To return to the default camera view, select a 3D camera tool, and click the
Return To Initial Camera Position icon   in the options bar.

3D Axis

The 3D Axis shows the current X, Y, and Z-axis orientation of models, cameras,
lights, and meshes in 3D space. It appears when you select any 3D tool, providing
an alternative way to manipulate the selected item.

3D Axis with Mesh Rotate tool selected

A. Selected tool B. Minimize or maximize 3D Axis C. Move item along

axis D. Rotate item E. Compress or elongate item F. Resize item 
Note:

OpenGL must be enabled to display the 3D Axis. 

Show or hide the 3D Axis
 Choose View > Show > 3D Axis.
Minimize, restore, move, or resize the 3D Axis
1. Move the pointer over the 3D Axis to display the control bar.
 2. Do one of the following:
 

o To move the 3D Axis, drag the control bar.

o To minimize, click the minimize icon.
o To restore to normal size, click the minimized 3D Axis.
o To resize, drag the zoom icon.
Move, rotate, or scale selected items with the 3D Axis
To use the 3D Axis, move the mouse pointer over an axis control to highlight it,
and then drag as follows:
Note:

Available axis controls vary depending upon the current editing mode (object,
camera, mesh, or light).
 To move the selected item along the X, Y, or Z-axis, highlight the conical
tip of any axis. Drag in either direction along the axis.
 To rotate the item, click the curved rotation segment just inside an axis tip.
A yellow circle appears showing the rotation plane. Drag in a clockwise or
counterclockwise circle around the 3D Axis center. To rotate more gradually,
move the mouse farther away from the center of the 3D Axis.
 To resize the item, drag the center cube in the 3D Axis up or down.
 To compress or elongate the item along an axis, drag one of the colored
transform cubes either toward or away from the center cube.
 To constrain movement to an object plane, move the mouse pointer into the
area where two axes intersect, near the center cube. A yellow plane icon appears
between two axes. Drag in any direction. You can also move the pointer over the
lower part of the center cube to activate the plane icon.

Adding 3D Refraction Effect

Explanation
 Adding refraction effect to an image is much easy.
 Open a new or existing file.
 Choose a layer from layers window for which you have to give the refraction
effect.
 In order to give the refraction effect we use "Layer Styles".
 Open Layer styles window, check "Inner Glow".
 Set the color to be : R=65, G=70, B=130.
 Specify the Blend Mode to Normal, Opacity to 100% and size as required.
 Click on "ok". You may now see the difference.

Layer Masking for Lighting Effect

How to use Layer Mask for Lighting Effect in Adobe Photoshop?

Explanation
 Learn how to provide lighting effect to an image from this video tutorial.
 First Open an image to which you want to give lighting effect.
 Create a "Duplicate Layer", by right clicking in the "Layers Window".
 Darken the image, choosing "Image -> Adjustments -> Levels" from the
menu bar, increase the "Input Level" in the levels window.
 Mask the layers by selecting "Add Layer Mask" from "Layers Window".
 Select the "Brush Tool", Set the size as required in the "Options Bar".
 Drag the mouse over the image to give a lighting effect.

Available 3D painting methods

Different painting methods are appropriate for different use cases. Photoshop
provides the following 3D painting methods:
Live 3D Painting: (Default in Photoshop) Brush strokes made in the 3D model
view or the texture view are reflected in real time in the other view. This 3D
painting method offers high performance and minimum distortion.

Layer Projection Painting: The Gradient tool and filters use this painting method.

The Layer Projection Painting method involves merging a painted layer with the
underlying 3D layer. During the merge operation, Photoshop automatically
projects the paint onto the appropriate target textures.
 Projection Painting: (Default in Photoshop Extended CS6) Projection Painting is
suitable for painting multiple textures simultaneously or for painting the seam
between two textures. However, in general, it is a lower-performance painting
method and may result in cracks when you’re painting complex 3D objects.
Texture Painting: You can open the 2D texture and paint it directly.

Live 3D Painting

Some tips to paint 3D models

 If the model area is hidden, you can temporarily cut away surface areas that
are blocking your view. See Reveal surfaces to paint on.
 If you are painting on curved or irregular surfaces, you can get visual
feedback before you paint of which areas can best receive paint. See Identify
paintable areas. You can also set the paint fall-off angle, which controls the amount
of paint applied to angled surfaces. See Set the paint falloff angle.
 While painting texture seams, a single brush stamp applies only to one side
of the seam. Move the center of the brush across the seam to paint its other side.
 If you try to paint on a texture map type that the material doesn’t contain,
Photoshop prompts you to create a map. For information on map types, see 3D
Materials settings (Photoshop Extended).
 Paint an object in the Live 3D Painting mode

1. Open the 3D model in the 3D model view.

2. Open the texture document that you want to paint. To do so, double-click the
name of the texture in the Layers panel.
3. Select Window > Arrange > Tile to view the 3D model view and the
texture document side by side.
4. Using the Brush tool, paint the 3D model or the texture document. Your
brush stokes reflect automatically in the other view.

Switch to the Projection Painting mode

1. Create or open a 3D model.

2. Select 3D > Use Projection Painting.
3. Paint your 3D model.
Note:
In the Master 3D document, Photoshop uses the Projection Painting method by
default for painting operations.

Unwrap UVs of a 3D model

Photoshop provides an option to automatically unwrap UV maps for your 3D

model.
1. Open the 3D model.
2. Select 3D > Generate UVs.
3. The warning When using Generate UVs, all of the meshes' materials'
textures will be flattened is displayed. Click OK to continue.
4. In the Generate UVs dialog box that appears, choose the following material
and unwrapping options:
Merge Materials
If multiple maps—for example, Diffuse and Bump maps—exist on a single mesh,
combine them into one map.
 Example: Combine two different Diffuse maps into one Diffuse map.
If you have multiple meshes, each of them will still have their own map. For
example, if you have three separate meshes with three Diffuse maps, you'll still
have three separate Diffuse maps for each mesh.
Preserve Appearance
On a best-effort basis, maintains the look of the 3D model and its textures when
new UVs are generated. If you choose to not enable this option, the current
textures are not preserved.
UV Map Size
Select the required size for the generated UV maps (pixels x pixels). You have the
option choose 128, 256, 512, 1024, 2048, or 4096.
Low Distortion
Keeps the texture pattern more intact, but can create more seams on the model
surface.
Fewer Seams
Minimizes the number of seams that appear on the model. This can produce more
stretching or pinching of the texture, depending on the model.
5. Click OK.
6. You can view the generated UVs under the Diffuse section in
the Layers panel.
Note:
After generating UVs for a Fuse model, the model moves from its original
position. This is a expected behavior in most rigged models, as the rigged position
is different from the position of the mesh. The model shifts to the mesh position
because the rig is removed when generating UVs for that model.
Note:
To preview any of the generated UV maps, hold the cursor over the layer item in
the Layers panel. To open the UV map in a separate window, doube-click that
layer item.

Target a texture type for painting

 You can target eight different texture types for painting:
1. With your 3D model open, select 3D > Paint On Target Texture.
2. Choose the texture type that you want to paint.
Note:
In 3D models having multiple textures, only the texture that you open and start
painting on is painted.

Paint a target texture type

Paint in the unlit mode

You can choose to paint your 3D objects in the unlit mode. This mode ignores any
lighting in your scene and wraps raw texture data of the appropriate type around
your 3D objects. Painting in the unlit mode lets you paint without shading and with
greater color accuracy.
 Follow these steps:
1. In the 3D panel, select Scene.
2. In the Properties panel, select Surface.
3. Select Unlit Texture from the Style pop-up menu.

Reveal surfaces to paint on

For more complex models with interior or hidden areas, you can hide sections of
the model for easier access to surfaces you want to paint. For example, to apply
paint to the dashboard of a car model, you can temporarily cut away the roof or
windshield, then zoom inside the car to get an unobstructed view.
1. Select an area of the model that you want to cut away, using a selection
tool such as the Lasso or Marquee tool.
2. Use any of the following 3D menu commands to reveal or hide areas of
the model:
 
Hide Nearest Surface
hides only the first layer of model polygons within the 2D selection. To
quickly peel away surface of the model, you can use this command
repeatedly while keeping the selection area active.
 
Note:
When hiding surfaces, rotate the model if necessary to position surfaces so
that they are perpendicular to your currentview.
 
Only Hide Enclosed Polygons
When selected, the Hide Nearest Surface command only affects
polygons that are fully within the selection. When unchecked, ithides any
polygons touched by the selection.
 
Invert Visible Surfaces
Makes currently visible surfaces invisible, and invisible surfaces visible.
  
Reveal All Surfaces
Makes all hidden surfaces visible again.

Set the paint falloff angle

When painting on a model, the paint falloff angle controls how much paint is
applied to a surface as it curves away from the forward-facing view. The falloff
angle is calculated based on a “normal”, or straight line projecting out from the
part of the model surface that faces you. For example, in a spherical model such as
a soccer ball, the falloff angle to the exact center of the ball as it faces you is 0
degrees. As the surface of the ball curves away, the falloff angle increases, up to 90
degrees at the edges of the ball.

A. Eye/camera angle B. Minimum angle C. Maximum angle D. Paint fade

start E. Paint fade end 
1. Choose 3D > 3D Paint Falloff.
2. Set the minimum and maximum angle settings.
 
o The maximum paint falloff range is 0 - 90 degrees. At 0 degrees, paint
is only applied to the surface if it is facing directly forward, with no drop-
off angle. At 90 degrees, paint can follow a curved surface such as a
sphere to its visible edges. At a 45 degree setting, the painted area is
 limited to the areas of the sphere that don’t curve away at more than 45
degrees.
o The Minimum falloff angle sets a range within which paint gradually
fades as it approaches the maximum falloff angle. For example, if the
maximum falloff angle is 45, and the minimum falloff is 30, paint opacity
decreases from 100 to 0 percent between 30 and 45 degrees of falloff.

Identify paintable areas

It may not be clear just from looking at a 3D model whether you can successfully
paint on certain areas. Because the model view may not provide a 1 to 1
correspondence with the 2D texture itself, applying paint directly to the model is
different from directly painting on a 2D texture map. What appears to be a small
brush on the model may in fact be much larger in relation to the texture, depending
on the resolution of the texture, or how close you are to the model when applying
paint.
Good paintable areas are areas where you can apply paint or other adjustments to
the model surface with the most consistent and predictable effect. In other areas,
paint may be undersampled or oversampled due to your angle or distance from the
model surface.
1. Do one of the following:
 
o Choose 3D > Select Paintable Areas. A selection marquee highlights
the best areas for painting on the model.
o In Scene section   of the 3D panel, choose Paint Mask from
the Preset menu.
In Paint Mask mode, white shows areas good for painting, blue shows
areas where paint will be undersampled, and red shows areas where paint
will be oversampled. (To paint on the model, you must change from
the Paint Mask render mode to a render mode that supports painting,
such as Solid.)
Note:
The areas selected by Select Paintable Areas, and the paintable areas shown
in Paint Mask mode, are partially determined by the current Paint Falloff setting.
A higher paint falloff setting increases the paintable area, a lower setting decreases
the paintable area. See Set the paint falloff angle.

What is a 3DS file?

A 3DS file is a 3D image format used by Autodesk 3D Studio. It contains mesh

data, material attributes, bitmap references, smoothing group data, viewport
configurations, camera locations, and lighting information. 3DS files may also
include object animation data.
More Information
3DS files are typically used by gamers who enjoy playing discontinued games on
their computers. The gamers may create 3DS files by dumping the game data from
the original cartridge onto a computer and packaging it as a 3DS file. Or gamers
may download 3DS files from game emulator websites that have already been
dumped from game cartridges.
There are various emulators available for playing 3DS games, including TronDS
and Citra. Some features provided by emulators include enhanced game graphics,
"cheat" options, and new gameplay settings.

How to Add a Panning Effect in Photoshop

Adding a panning effect in Photoshop is a great way to take a stationary subject

and give it some movement and fluidity. This not only creates a more interesting

photograph to view, but also helps to tell a story in a more visual manner – such as

a car that is parked compared to one moving (or at least one that appears to be).

While the best way to capture a panning effect is to do so with your camera for

authentic blurring and overlapping of colors and shapes, the Photoshop process can

also look genuine with bit of patience. For this exercise, I'm going to add a panning

effect to my seagull image below:

1. Open your image and duplicate your base layer so that you always have the

original to revert back to if necessary.

2. With your pen tool, carefully draw around your subject and any other elements

you don't want affected by the panning blur. When finished, select the Paths tab on

your layers palette and right click to bring up the Make Selection menu (Figure 1).

3. Here you can select how much to feather your new selection (make the transition

gradual). For panning effects, I’d keep the feathering to a bare minimal (especially

along hard edges), otherwise it will look contrived. Select “New Selection” to turn

your pen outline into a selection (Figure 2).

If you see that your selection is a bit too loose around your subject, a simple way to

shrink the outline by a certain amount of pixels is to click Select > Modify >

Contract.

4. Next we’re going to make sure that we only blur the pixels OUTSIDE of our

selection path instead of inside as that is where we want to add the panning effect

to. Click Select > Inverse to switch the selection around.

5. Now we’re ready to apply our panning effect. Click Filter > Blur > Motion Blur

to bring up that filter menu (Figure 3). Here we can select the angle (the direction

you would like your panning to go in) and the strength of your blur (distance). Play
around with these sliders to obtain your desired effect. For my image, I wanted

some severe blurring at a slight angle so I chose -8 degrees @ 398 pixels.

6. Depending on your subject and the strength of your blurring, you may run into

the problem seen above: blurring of the subject in the background giving it an

unnatural shadow. To correct this, we’re going to work our Clone stamp. Since you

now have a nice, smooth background to work with, the cloning can look quite

natural.

Do NOT deselect yet as you only want the clone stamp to affect outside of your

selection – this will eliminate the need to work along hard edges and attempt to
stay in the lines when cloning. Keep your selection active until you're finished with

the steps below.

Go to your layers palette and make sure your top layer is active. Now select your

clone stamp and with a very soft brush (0% Hardness) and a size suitable to the

area you want to affect, select your clone source (by holding down the ALT key

and clicking somewhere on your image) and start brushing around the shadowed

area. It might be a good idea to have your clone stamp at a lowered opacity (say

around 60%) to make sure that the transition is truly gradual and smooth.

After some clone stamping, here's the final product:

Now you can deselect (CTRL+D) and continue to edit your image.

Create and adjust 3D extrusions

3D extrusion lets you extend type, selections, closed paths, shapes, and image
layers into three dimensions.
1. Select a path, shape layer, type layer, image layer, or specific pixel areas.
 2. Choose 3D > New 3D Extrusion From Selected Path, Layer, or Current
Selection.
 
Note:
To quickly extrude type while editing with the Type tool, click the 3D
button   in the options bar.
3. With the mesh selected in the 3D panel, select the Deform   or Cap   
icons at the top of the Properties panel.
4. Edit numerical settings in the Properties panel, or drag the interactive
extrusion controls in the document window.
To edit the original path, type, or image layer, select the related mesh in the 3D
panel, and click Edit Source in the Properties panel.

Define ground planes for imported objects

Quickly create perspective planes with the Vanishing Point filter, and snap an
imported object to them.
1. Select an image layer, and choose Filter > Vanishing Point.
2. Using the Create Plane and Edit Plane tools, create a grid to define a
ground plane. Then click OK.
3. Choose 3D > New 3D Layer from File.
The imported object is placed on the ground plane you defined.

Make paths from 3D layers

Choose 3D > Make Work Path from 3D Layer to convert the current rendering into
a Work Path. This command traces a path over the alpha channel of the layer.
If you render in wireframe mode and adjust the crease threshold value to eliminate
some unnecessary lines, you can create a rendering that looks hand drawn when
stroked with a Photoshop brush.
Merge multiple 3D layers

To improve performance and interact shadows and reflections for multiple objects,
merge as many 3D layers as you need.
Before merging 3D layers, use the Orthographic camera view to position meshes
with maximum precision:
1. At the top of the 3D panel, click the Scene icon  , and select Current
View.
2. In the Properties panel, select Orthographic.

What Is Daz Studio?

Daz Studio is a 3D rendering program. You create a 3D scene, light it, adjust
camera settings, and then just click render. In this way, it is like photography,
except you are taking a picture of a virtual scene. Because it is a virtual scene, we
get a lot more control over the scene itself, as well as how it is lighted.

You may think that creating a 3D scene is very complicated and time consuming,
but actually it is not. This is because we can get many 3D-objects, poses, and lights
to populate our scene from the Daz3d marketplace. In fact, that is how they make
money, which is why they give away the Daz Studio software for free.

The software itself also comes with some free initial content, and you can get more
free daily items from their freebie page. In this way, you can try things out first,
without having to buy content right off. 

Photoshop 3D – Using Depth Maps, Bump Maps, and Normal Maps

Bump Maps in Photoshop 3D

Bump maps are grayscale images that allow you to fake detail in 3D objects. The
detail that they generate is simply a lighting trick on the surface of 3D objects. The
actual 3D geometry is not changed in any way.
The 256 different levels of luminosity in bump maps are used to tell the Photoshop
how far to push down or pull down.

Bump maps are really easy to create using Photoshop’s 3D filters. Go to Filter >
3D > Generate Bump Map. This will bring up the Generate Bump Map dialog box
which gives you an interactive 3D preview, with controls on how to generate the
grayscale image that will make up your Bump map.
After you generate your Bump map, you can edit it with any of photoshop’s
regular adjustments, tools, or filters. One common technique is to use the Dodge
and Burn tools to adjust the luminosity of certain areas.

Even though Bump Maps can be very useful in many projects, their drawback is
that in certain angles they do not look very realistic.

Normal Maps in Photoshop 3D

Normal Maps are very similar to bump maps. They also allow you to fake the
illusion of depth and detail on a 3D object without actually adding any 3D
geometry. But Normal maps do it in a different way.

A normal map uses RGB information that corresponds to the X, Y and Z axis in 3D

space. The RGB channels tell Photoshop the direction of the surface normals are
oriented in for each and every polygon.
Normal maps are as easy to create in Photoshop as Bump maps. Go to Filter > 3D
> Generate Bump Map.

The Generate Normal Map dialog box is almost identical to the Generate Bump
Map dialog box. It also gives you an interactive 3D preview, with controls on how
to generate the image that will make up your Normal map.
Unlike a Bump map, Normal maps can be very difficult edit in Photoshop. Each
RGB channel is adjusted to present a movement in a single axis in 3D. This means
that any adjustments would need to be made the appropriate RGB channel, and not
the whole image.

Depth Maps in Photoshop 3D

Depth maps are 2D images that use their luminance values to create 3D objects.
Unlike Bump maps or Normal maps, Depth maps in Photoshop do alter the 3D
geometry of an object.

In this tutorial, we use a Bump map as a Depth map to create our 3D object.
This image was also created using a Depth map 3D modeling technique similar to
the one shown in this video.
How to Create a 3D Postcard in Adobe Photoshop

The 3D postcard is the simplest of the 3D mesh presets in Photoshop. 3D modeling

is processor-intensive, so if you've seen a message when launching Photoshop
about insufficient vRAM, you will not be able to work in 3D.

This feature works the same in Adobe Photoshop CS6 and CC versions. Photoshop
CS5 also has 3D capabilities, but the interface has changed.

1. Let's start with an explanation of 3D terminology:

o Meshes – Sometimes called wireframes, they are the skeletons of 3D
objects around which the image wraps.
o Materials – Refers to the surface of the 3D object. Is it smooth and
shiny like glass or metal, or textured like fabric or orange peel?
o Lighting – Affects the highlights and shadows of a 3D object.
o Camera Position – Refers to the line of sight relative to the 3D
object.
2. To optimize Photoshop for working in 3D, go to Edit > Preferences >
Performance to open the Performance Preferences and make sure Use
 Graphics Processor is checked. If this option is grayed out, your video card
or driver does not support Open GL, and 3D options will be limited and
slow.

3. In case things don't work out as planned, it's a good idea to make a copy of
the image layer you'll be turning into a 3D object by going to
the Layers panel, right-clicking (PC) / Control-clicking (Mac) on the layer,
 and choosing Duplicate Layer.

4. I'll name the layer "image - 3D" in the next dialog box.
5. Now the original layer can be hidden by clicking the layer's Visibility icon.

6. From the Workspace menu, select 3D.

7. With the 3D layer active, go to the 3D menu to New Mesh from Layer and
choose Postcard.
8. The image will likely display a Secondary View Panel and a ground plane
grid.
9. These can be turned off by going to View > Show > 3D Ground Plane,
then back to the View menu again and toggling off 3D Secondary View.
10.Go to the 3D panel and click on [layer name] Mesh.

11.A 3D axis widget will appear in the image window. The widget has three
differently colored "arms" for X, Y, and Z axes. Hover over the different
sections in the arms and you'll see tool tips display showing three sets of
controls for each arm:
o Move On Axis: moves the object along the selected axis.
o Rotate Around Axis: rotates using the X, Y, or Z as a pivot point.
o Scale Along Axis: changes the size along a specific axis.
12.I want the image to appear angled with the right side closer to the camera, so
I'll click and hold on the Rotate Around Y Axis control and drag to the
right.
13.There's a cube shape in the center of the widget that can be used to scale the
3D object proportionally. As you hover over it, a tool tip will appear
to Scale Uniformly. Click and drag away from the center to make the 3D
smaller or toward the center to make it larger.

14.Once the 3D effect has been created, you can either rasterize it to use as
static art or render it for use in video or animation by going to
the Layers panel, right-clicking (PC) / Control-clicking (Mac), and selecting
either Render 3D Layer or Rasterize 3D. Note that rendering can take a
long time to complete.