*Transcription Disclaimer: the following transcription was automatically generated, and may have errors, or lack context.*
How is everybody doing today? Good afternoon.
If it's afternoon for you, good evening. If it's evening, how you guys doing? Hello, Ralph. How's Shauna? Hi, everybody.
Sam, how you doing? I know Yon better be here this week. He was here last week. He was helping creative direct everything.
Unfortunately, we had to ditch his stars idea. I'll show you kind of what we were talking about last time, but hi, guys. How are you doing? Welcome.
Welcome in. If you're at YouTube right now watching this, come on over to Behance. Be active in Chat.
Come hang out. This is going to be a lot of fun. We've got some new tools, new features in Dimension.
We're going to go crazy today and tomorrow. Last week, if you missed it, we had a lot of fun doing some random bunny scenes. So for those of y'all who don't know who I am, I'm Alex Lazaris.
I run a design firm out of Portland, Oregon. Have some wonderful freelancers that work with me. But today we're going to get into my new crazy pastime Dimension.
Last week we built these kind of like this crazy bunny scene. It took us about two days and a little bit extra kind of doing these interdimensional chocolate Easter bunny type things. So I have a hard time just like doing one off little pieces on my portfolio.
It always has to be like a whole series. So I built a larger Behance project where I incorporated all these other little bunnies in throughout the scenes with extra portals and then just kind of did like one of those seeing eye book tests where you have to focus on something and you kind of see what the object is. Kind of did that kind of with this little intergalactic bunny as well.
So that's been a lot of fun trying to utilize Dimension to its fullest, fullest capabilities. I know I'm not an expert. Vlad is.
If you have any questions, vladimir is in Chat, one of those directions. He's amazing. He's kind of a lighting god.
He knows way too much about physics and lighting and 3D programs. So if you have any questions, hit him up there, Chat. There you go.
Anyway, so we had a lot of fun with that. If you aren't following me on Behance, give it a click. Give it a like I'm going to be doing 36 days of type this coming couple of days, all 36 of them.
And we're going to be using Dimension for all of it. So I will be streaming it on Behance. You can check out Pras podcast in the videos tab.
Come on, hang out. We're going to get really nerdy with Dimension. So historically, if you wanted to build really cool type letterings, you might have to do something like this where it's a little bit more abstract.
That's really cool, right? But at the same time, it wasn't true 3D type so you kind of have to build it in another program and bring it in yourself. This last update that came in on Monday evening I believe has you covered now. You now have type in Dimension.
I know it's crazy. So we're going to dive into that today and then tomorrow we're going to cover some more of the cool feature like other cool features. So right now I'm just going to show you.
I've started off a blank canvas at 1000 pixels by 1000 pixels. If it sounds like I'm rushing it's, because I am. We only have an hour here today together and doing stuff in 3D takes quite a bit of time.
And I want to try to get a whole scene done in one day or pretty close to it. So you have a good understanding of where I'm taking the project. I'm going to save this as my default camera view really quickly up in there in the camera BOOKMARKS, say default, nothing fancy, nothing special.
I'm going to just pivot this up, show one of the new features in Dimension. It's called the slice. I need like a foghorn.
I don't have music playing in the background because I think it's choose your own adventure. So you're more than welcome to bring your own music to the stream. Play it in the background, do whatever you want.
So now that you notice on the properties panel for this cylinder here, there is an angle slice section and you can pull it and make your own little pacman if you want. Let's pick him up and rotate him real quick so I can rotate it and make a whole scene if I want to very, very quickly. I've got little sphere and then I can go to my spheres now.
And guess what? There's a crazy new feature for the spheres as well. You can now set between standard hexahedron and Octahedron. And you can set how many subdivisions you want.
So the higher the subdivisions are, move over the camera just a little bit. I didn't meant to click the dolly zoom button, but I did not. All right, let me just move this over very, very quickly.
I'm going to make him yellow, go into the properties, click yellow, boop. All right. And then I'm going to shrink the circle down very, very quickly.
Oops. I'm going to lock properties, lock constraints. I'll show you how to do this again later.
And I'm going to move it over. All right. So this sphere now is an Octahedron.
The more subdivisions I have, the smoother the sphere will look. Crazier. The lower it is, the more like 2D poly it's going to be, the more surfaces there are.
You can do the same thing with the Octahedron as you can with the Hexahedron. Just kind of breaks down where the planes on the sphere would be. Again, the more subdivisions, the smoother it'll be.
So if you ever are working Dimension and you're working with something that's rounded and you feel like it's slightly janky or like there's too many flat planes throughout your circle. Make sure that your subdivisions are all the way turned up. That will smooth out all the circles and everything around it.
So that kind of works as well for the Taurus, which we'll leverage pretty heavily tomorrow. And the cone, so that's kind of just a base. These are the kind of really quick features for where now fit canvas.
Sorry, I know I was working probably pretty small there, but we're going to get into the text tool. So because I'm doing 36 days of type and I have started today, we're going to start with A. But right now, let me just show you some of the basic features of this and then we'll get into some more and more craziness.
Welcome Tonic and Akin and Bernadetta and Jenna. Everybody. Welcome.
Yeah, the carrots that way. That was fun talk nerdy. Hey, Paka.
How you doing? So one thing you'll notice comparative to other cubes and things is that whenever you import a cube, let's make this size smaller. So this cube right here has its property aligned to the center. Right now, obviously, if you change or sorry, bottom, you can change where the align tool goes by clicking pivots points and that will kind of change how it rotates around things.
So if I put it at the bottom, it should rotate just from the bottom, not from the center. Same thing happens with type. So I'm going to lock constraints and just shrink it down.
I'm going to boost it above the plane. All right. So with Loremipsum, it says that it's left aligned so your pivot and rotate points are to the left of the text.
If I press center, it goes straight in the middle and then I can rotate there. Does that make sense? Think that's pretty self explanatory. Same thing with on the right side and boom.
So I'm going to work with it being in the center because that's easy as rotation points. Aerial black everybody's favorite. We can do some memes by using Impact font.
Let's do Impact for just very quickly. So there are a lot of really awesome things you can do with the new text tool. And we're going to utilize it over and over again for our A that we're going to make.
So I'm going to save this actually really quick as a here. Just make this memes because everybody likes memes. All right, so now I've got impact on you can check at the bottom.
You can add depth and size. So if I want to make it bigger, I just increase size. If I'm going to do multiple memes, I can control the letting between the two levels right here at this where the auto is.
And just slowly I'm going to have to probably manually do it because it scales pretty fast. So I'll probably say, okay, 810 have to just do ten because the drag tool is so fast. Is it working now? There we go.
All right. So that's how you do tracking. All right.
So now if I wanted to so the one thing you have to be warned whenever you are using the 3D for your text is that you can't kern individual letters inside of the actual text editor. So right now you can see I can increase the kerning for all the letters by pulling it out. But sometimes you want to really finesse a single element.
What you can do is rasterize the image and now it's all glyphs. So now I've got the M under control and that's now a solid object and it's broken away from the type text. So I wouldn't do this unless you're completely comfortable with it being done and edited and then you can kind of just shrink things around.
So does that make sense? So move that element at the final stages just to get everything kind of nudged in there and the perfect type system that you want. Sorry, I'm going to just undo that. All right.
Like I said, I'm going to start with a just make a new layer and center memes. All right, size. I'm going to scale size down and raise it above the ground plane.
All right, let's show you a couple more things. Now you have also bevel and depth. So now depth controls how deep it is.
Shockingly. Very self explanatory title. It's great.
So now you can see how deep it is. You can also now control the bevel. So you got a bunch of different options.
I'll quickly go through it on memes. So you can kind of see this classic has like the angles coming to the center of the letter form itself, round, nice and soft. You can also control how flat they are, right? So if you want a nice soft curve on it, you can go further on the width section and it really flattens it out, makes it look almost like a balloon.
And then on the left side of it, it's nice and crisp, but still has a nice small round corner on it, which is sweet. Angle increases also part of the depth, I think it's like depth goes backwards while angle goes forward, I believe. And somebody on the dimension probably could answer that better.
I have not figured out what space does. It seems to either be on or off, but I don't see any difference between the value at 100 and being at like 30. So it kind of turns either on or off.
There's no in between, unlike other places. And then the repeat. This is really sweet.
It's one of my favorite things. So we'll keep it on the, I guess rounded for right now. And repeat is the amount of times that there's a bevel.
So let me zoom in on the bevel itself. You could kind of see repeat is currently, as you see, I can go up to one. One is just a normal two starts to level it, and step space is the space between repeats.
If you have a repeat bevel that has more than one ha. Brilliant. Oh, I see that.
Okay. Yep, there we go. That's why I haven't figured it out, because I never had that on.
That's awesome. Thank you, Jeanette. Appreciate that.
Yeah, that makes sense. Cool. So now you can control that, and that creates a really nice repeat.
Then you can also control the angle again so it starts to push it out even further, which creates really cool effects. So you guys can mess around with this. They have a bunch of different steps, bunch of different outlines, and bevels some really cool things.
I'm going to do a project with this at some point where it feels like a neon sign, I think, where it's like outlined using the bevels as just Glows, because the Glow feature is one of my favorite. If you've seen it in the last Streams, glow feature is beautiful. It's one of my favorite materials to work with.
I use it for lighting all the time. It creates a really interesting piece. So anyways, let's start with A, because that's our letter of the day.
And I'm going to work vertically. So I'm going to actually lay it down on its side in a second just because the idea that I have for this letter form is to be like one of those exploded engineering diagrams where you kind of can see, like, the gear going into the back panel and the casing and then all the pistons and all that stuff. Like if you saw like an engine, something like that.
So what I want to do is find a nice kind of fat A. I think aso could work. Let me actually just flip it upside down now because I think the just current default lighting is not working for me.
All right, so if you click and hold shift and drag the rotation, it snaps to 45 degrees, I think, or 15. You're just going to pull all the way to around to 90. I'm going to rotate up my camera just so I have a better understanding of what this type is doing.
I'm going to actually just copy this guy and pull it over just to compare it really quickly while we figure out which A we want to use. If anybody has a favorite typeface that is a San Serif, let me know. Boldline could be cool, too.
Boldline doesn't have an extended I kind of want a fatter A. I might actually just keep the current one. We have the Azero.
I think that's what it's called. That might be the best option for us. So what we're going to do so right now, you have to also sometimes give dimension just a little bit of time sometimes when it's working with a typeface to kind of render it into 3D.
Like, right now, it's kind of fighting me. There we go. Actually, this A is probably exactly what we want.
I don't know, what do you guys think? Left or right? What do you all want? Which typeface is your favorite? So while we're deciding on that chat, what we're going to do is we're going to actually turn on the bevel and I'm going to use a square outline and I'm going to increase the width just so it feels like it's an outline of my A. I'm going to be working off of many, many versions of this a because, like I said, I want this to feel like it's expanded. So I'm going to have like a back plate and then a center.
If we have enough time. I'd like to make a neon grid inside of it to make it look like it was like, actually a light bulb. And then using these beautiful cylinders, we can even do like pistons and nails or screws kind of going through it.
And then in Photoshop, I can just do a nice little outline, kind of showing where the screws would go and stuff. And then that would be it, right? One will take some changes with lights and shadows. Yes, that's true.
All right, cool. Seems like people are saying, right, so we're going to do right? All right, we're going to start with just seeing what we're doing with this. So I think base level, let me actually copy, paste, move them up.
I'm actually going to bring down the rotation of the environmental light just to see a little bit more of the details of what's happening. Alex, can you import your 3D images into your design? You can bring 3D images in. It depends on what you mean by 3D images.
But you can use 3D images for light sources. You can also use them for environment lights, believe, and your objects and everything you can import directly into dimension. But if I did not answer that correctly, one of the beautiful dimension people in Chat will also be able to help you out.
All right, so I don't want to repeat that multiple times. I want to increase the angle without there we go. All right, so now we kind of have this, like, backplate, which looks kind of interesting already.
And if we were to just leave it like that, it could be cool. So actually bring this one up above it now, and I'm going to treat it. So inside of the text tool you'll see now in 3D, you've got sides, faces, bevels, and backs, and you can control each of the materials and each of the properties within that, which is great.
So if you're used to working in dimension already, this will feel just like super normal for you. If you're not, we'll walk through that together. So I'm going to actually decrease the bevel or the depth of this now to like, 0.5,
maybe even lower, to be honest. We'll do zero three. Cool.
So zero three will allow me to say that this is maybe our middle plane. And then I'm going to do a top plane. I need two more planes, actually.
Okay. So we're going to get kind of crazy. Bear with me, chat.
We got this in a couple of seconds. All right. So I'm going to flatten this completely now.
Actually, not completely. I'm going to do zero one and I'm going to get rid of the actually, I'm going to get rid of the bevel completely. So what I'm thinking about is this is going to be my neon or like my gel on top of a neon.
So the base level is going to be kind of like the holding container. This middle section is going to be my neon lights. I'm going to put some glow lights in there, kind of strip throughout it.
This next level right here is going to be my gel. So I'm going to actually just grab a gelatin material just as a placeholder for right now. And I'm going to turn down the Opacity to like 64 right now just so we know that this is going to be the thing that makes the sign look kind of glowy.
And then inside we're going to yeah, so what I'm going to do is I'm going to take this A I'm going to make why is it point? All right, what's going on here? All right, so now I'm going to take the inside of this text and I'm going to use the glass tool right in this middle section. I'm going to turn down the Opacity to zero. It should be see through if I do like the render preview.
So on 3D text, thing to think about is you now have two sides of things, right? So because I've made the face 3D, you could essentially put like a liquid in there or another material, and then the back have a different kind of texture or concept. So what I'm going to do is actually I'm going to take the back. I'm going to grab my eyedropper tool right here in the left panel and I'm going to click this like the face and then that copies the material that I just had onto the back.
So what I just did was essentially use the glass properties to create like an outline for my actual text. This is my runaround, my hack for creating kind of like outline text. The dimension team probably has other ways of doing it, but this is kind of just the way that I found to be helpful for that.
So if I'm going to do that, then I'm going to also duplicate this layer control C, control V, command V. And then I just pull it up and this will be my top. I want this to be a little bit thinner.
Let me go back to the bevel tools and then lower the angle so that this feels like more of like a front plate. And then again, this section here feels a little too thick again. And that's because I have a really large angle on.
So I'm going to treat it maybe something like that. All right, so let's see here. Let me move the camera.
Just pull this over here. And right now we're just kind of getting the bases together. We will get everything kind of tweaked and sorted.
I'm going to save as view two. It's actually a great name for it already, but you can kind of see like, if I wanted to stage this, I could start kind of doing this as my expanded type system already. So it's kind of interesting.
Let me go back to View Two and you can change all these things to be different materials, obviously. So right now what I'm actually going to do is I'm going to just throw on a kind of like a metal texture just to make it feel like it's like actually a metal sign. Do that on the side.
Oops, I went out on the actually, that's not bad on the inside, but I'm going to actually drag it over to the side view. All right. And then the bevel.
I'm also going to duplicate that and click the bevel again. Click the eyedropper tool and then click that substance that I'm looking at and I'll duplicate it. And now they're linked, so if I change them, they should both change at the same am I using third party rendering plugins? No, right now I'm using just the I render everything in dimension.
And right now this is the live preview tool at the top, which is using all the data to give it just like a quick teaser of what the lighting looks like. This is important whenever you start lighting your scenes with your own light sources and not just using environmental lights. Right now I have the environmental lights on just so it's easier to kind of see what I'm working with.
Let me just move this over. But sometimes the live preview can make your computer chug if you're kind of working on lower end computers. So just keep that in mind.
Anyways, back to the text work with this material. I'm going to increase the pattern repeat because it looks a little bit too large right now. Let's see if the render helps.
Cool. It's looking a lot nicer in the render. Now I'm actually going to take the face and the back.
I'm going to take the face and back and match the sides. I think that's probably the best move anyways. Nobody's going to be seeing the back anyways, but probably just a good practice to get into face back.
Same. Yeah, that is the great thing about Dimension is you don't have to download a third party plugin to do your renderings or anything like that. You also have the option to do cloud renderings using some credits if you have creative cloud.
So all around great options to work with. All right, so I've got these kind of top level items right now. It's a little busy in my screen, right? So I'm going to just move them up, get them out of the way.
We'll come back and we'll align everything and start pulling them apart a little bit more as we kind of run through this project. All right, so I'm going to rotate and zoom in. This is where things can start getting a little crazy, but what I'm going to do is I'm going to add starting material and I might not have enough time to do this all on stream, so I'm not going to burn all the time that I normally would doing this.
And we can kind of you can see the final renderings after I get them online tomorrow. I want to have this done before stream tomorrow. So I'm actually keep the constraints the same.
If you click the lock, everything shrinks down together. Go down to 10 CM. Let's go five.
Let's go even lower. Let's do one. All right, I'm going to rotate Z the right way.
Yeah. Okay. Z is the right way.
90 degrees. I'm going to scale it down even smaller, actually, to probably zero two. Cool.
That looks like it's probably at the same dimensions that I want it to be at. And I'm going to break the lock or turn off the lock so I can scale the length. Oops, wrong way.
Oh, Lord. All right. Z.
Oh, Lord. What are you doing? Bottom center. What? It got locked again, that's why.
Okay, let's go. Why? What am I doing wrong? All right, let's just why is it stop it. Stop locking again.
All right, there we go. All right, so I'm going to do all right, so now I've got this really long pole. Let's actually just shrink it down a bit.
All right, so what I'm going to do is I'm going to click and click the align tool. So I've clicked the A and the glow tool or the pole. You can see how it's below the plane right now.
What I'm going to do is essentially just align them by clicking the oh, yeah. Turn off my rendering. All right.
I'm going to post it up. So I'm going to click the top of this so it's going to align to the top of the A and then I'm going to actually do it again. And I'm going to align it to the bottom.
Let's do align to the bottom. All right, so now that we've seen this having connections issues on desktop too? I'm sorry, I don't know. My stream quality hasn't had any drop frames.
Let me know if you guys are having any issues. But I should be good. Seems good on my end, so don't know, maybe I'll look at the quality later on and see there might have been any issues.
In the meantime, I'm going to keep shrinking down the radius of this cylinder. There we go. That actually feels like it's probably correct.
And now what I'm going to do is again align it to the A center this time. Oh, no. All right.
So I've got this poles almost centered, and then I'm going to just rotate it over a little bit. I just wanted it to know that I'm trying to align it to the A and not move everything. Yeah, I don't want it to move where the A is because oh, no.
What is going on? Did it go down below now? Oh, Lord. All right, line back to the top seems to be stabilizing now. Awesome.
Okay, cool. Yay, it's stabilizing. All right, so now that I know that I want this pole here to be like a neon light, what I'm going to do is actually just apply the glow materials to it.
So like I said before, it's my favorite way of doing lighting. It makes a really cool effect through the gel, right? So we're going to treat that other piece like it's a gel. So I'm going to grab the glow and I'm going to just throw on the materials here.
What I'm actually going to do now is I'm going to just really quickly duplicate a bunch of these, and then I'm going to drag them into their own section. So I'm just duplicating as a group right now, and I'm going to select them all and then control C. And this should give me a pretty good neon strip really fast.
All right. So you can't really see them. They're all white and glowy right now.
But what we're doing is we're going to align them to each other by doing center so they're all center. And then what I'm going to do is I'm going to use these. Let me see if I can zoom in.
I can't, but you can see these three here. These three, I don't know, widgets or markers, wherever you pull it from will expand from the base that you're at. So what I'm going to do is actually move everything over to the base of the A, where I want my last point, my last glow to be, and I'm going to pull it upward.
And I now have like, neon tubes all throughout my A, and I'm going to group it by just command g, and then I can close it. What I will do after the stream is I'll actually go in and trim each and every single individual cylinder. But right now, I feel like that's just kind of a redundant use of time currently, but I'll trim it on both sides so that there's nothing in the middle and that you see it just kind of throughout the piece itself.
It's just kind of a time saver. It's got fit to canvas, to scream. All right.
What I'm going to do is I'm. Going to show you my kind of way that I like to light scenes utilizing the glow. If you were here last week, you kind of saw how I did it.
I could group these two together, but I won't. I'm just going to pull it down. Oh, no.
Cool. So you can kind of see how that's looking there. All right, I'm going to zoom back out, and I'm going to grab the gels and the tops.
I'm going to bring it down. And like we did earlier with the Align tool, we can also use the Align Tool to help us man Bad Habits from Illustrator. I just keep wanting to zoom in, and I should be using the dolly to kind of zoom in a little bit easier.
All right, so I've got these levels, and I want to just kind of see how they would look. I'm going to bring them all together, and then I'm going to pull them alongwards. Actually, it doesn't give me the effect that I want pulling layers incorrectly because of the sizes, I think.
So I can just visually just pull things down, but I want this up and this. So I'm going to pull back, and I'm going to light this A. So what we could do is we can also just put a glowing plane behind it so I can go to Starter Assets, click plane, and lower it down and then expand the sides, obviously, just so we have a nice kind of clean area to work with.
Also, I'm going to turn off the ground plane. All right, so now we're going to light it, and you're going to start seeing how this is going to come together, because right now it looks kind of like a mess because just the way that the lighting in this render is looking right now. So start seeing in 2 seconds.
Got a glow, so you can light it however you want. We can do, like, a really nice I guess if we got some reds, maybe we pull in some orange and yellows. And then I'm going to rotate it, and then I'm going to rotate it again so it looks like it's pointed at it.
And then I'm probably going to do, like, another variation of this control C, control V, and pull it up. Continue the rotation, probably something similar. Probably go for something a little bit more of like a blue to balance out the light.
And I'm going to pull this up. All right. I'm going to turn off the environmental light, and I'm going to check out what this render is looking like.
Oh, it's so blown out. So what you can do is you can turn off your environmental lights and use the glows to light your scene. What you're going to do is you can go into your properties whenever it's blown out like this and lower the glow down to, like, 200.
This yellow is super blown out, so I'm also going to go down here, go down a glow and do 200, and I'm going to pull in the camera. Alex, how do you present your creation to your customer? What format can you export? You can export this as a PSD, has all the layers already kind of extracted for you, so you can really fine tune it. It's actually a really great way of doing it.
PNGs. That's just the final images. You can also send them a virtual 3D scene so you can set BOOKMARKS for them in three D to be able to look around the actual object you created and limit their field of view and stuff.
It's a really great way of doing it. Lots and lots of options. So this is actually looking a little too yellow right now.
Maybe I need to have just maybe a little bit of blue in there, maybe white. You know what? I could probably just pull in our nice red too. Everything's blown out still.
Let's see if I can grab the cube above it and just dial in the glow tiny bit again. All right, so now I can move this over. As you're starting to think about this project, you can start seeing how.
So what I can do is also we'll just do this as like, a quick piece. I'm going to grab the group and all the text, and I'm going to take it and I'm going to rotate it, and I'm going to move the camera over a little bit more and then rotate it in here so you can kind of start seeing how the camera is going to start expanding it. We can play with all the lighting and everything as well.
If this is going to be a red neons, I can also just take the whole group and change the property and maybe make those red. Maybe they need to be blue just to make it a little bit more interesting. But right now, all the glow on the actual light poles themselves are very bright.
So I think that's also why the area is getting blown out. Let me actually just turn it off and see what it's going to look like. Yeah.
So the neon lights right now need to be turned down to probably like 10%. I think they're all at 500%, but you can start to see how the actual renders would look. So I'm going to move them back.
I'm going to turn on the environmental light just so we can see a little bit better. Cool. I think I might have undone the glow planes.
No, they're up here. All right, cool. So I'm going to move up these gels and I'm going to grab these cylinders and I'm going to apply it to all of them by doing that.
Does that work? No. Can I group edit my cylinders? I think what I need to do is actually grab this and then do glow at 40, say 40 and which number was that? Okay, five. So I'm going to actually grab all the layers above him.
Oh, no, I can't do that, can I? Why is it not socket? There we go. And then I'm going to click number five. Hopefully that works.
Let's see what the glow is on this guy now. Yay. Okay, cool.
So I think that should fix. Yeah, that's much better. So now we're not having a huge blowout from all the lighting.
All right, so we're going to move this over. We're going to raise this, and what we can do is figure out a material for this kind of outer level. What do you guys think the outside of a neon sign would be? Probably something.
I don't know. What do you guys think? Metal. Metal kind of the default go to.
We could also do, like, a glossy plastic. Could be really nice on it. Let me actually just open up the text layer so I'm not overriding all the glass for the bevel.
Do a glossy and then glossy on the side as well. How you doing? All right, so now we've got this guy. So we're currently just using all the new type feature tools with, like, a minor addition of our own little neon cylinders, but that's pretty much it.
It's pretty crazy what you can create with just some clear glass layers and some gelatin. Let me just move why can I not see? Let me move this up. Render preview.
I just wish it was so much faster. Why is this not going up? What? I don't get it. Oh, it's because it's centered.
Maybe it's fine. Yeah. Let me do bottom.
Yes. There we go. All right, let me pull the Y up.
All right, let's start trimming this stuff. So we got probably, like, ten minutes. Trim it all up, get it ready to go, and then position it in a way that kind of looks interesting.
So we'll speed through it. Speed. Speed is the name of the game.
It all right. So this is let's do center. Let's move.
Everything needs to be from the center. It yeah, that one actually needs to be duplicated. I'm going to do bottom, and it's going to all right, just move it very quickly.
Control. C control v move it. Cool.
So we're going to start building out all these neons in here. 100% dimension. All right, let's just go from the top down.
All right, we got 17. Just shrink it just a tiny bit. All right.
Got to get a W dimension. You do. There's so many cool things you can do, especially now.
This update's really, really awesome. I think a lot of people are going to start being able to do some really cool posters for marketing campaigns with it. We're doing this, and I kind of want to bring it into Photoshop later on and just do a couple of different process steps to it to just make it use this to create the actual architectural blueprint that you might see.
I'm going to actually ungroup this because it's driving me crazy right now. We know where all the cylinders are. They're all the ones that I'm trying to work on right now.
It's going to speed up the process a lot by ungrouping it because I keep copying and pasting it and keeps placing it in a random spot in the group. We don't really care what the left side of this looks like. The right side is the most important.
Just drag it over again. Same thing. What are you guys most excited about for the new Dimension features? Is this your first time seeing what Dimension is all about? If so, you are about to embark on a very fun journey.
Not trying to interrupt. Great job staying focused. Staying focused is fun and easy sometimes whenever you get in the flow.
Stuff like this when you're retouching photos even, can be such a nice just way to calm down because you know what you're doing. The constraints are pretty dialed. You know what to do already.
So you can just focus on enjoying the moment. And with all the craziness and your day to day life and all the work you have to do, it's nice to have some couple moments in a design project where you can just meditate and jam, listen to whatever music you brought into the stream today. Yeah, it's about having some quality you time.
All right, very quick. I wish that there was like an easy trim tool, but I can only imagine how difficult that would be. This is an Illustrator, after all.
So right now, also, every single layer is at the top level. We'll have to move it down just slightly so it's more centered within the actual within the actual Aframe that we built. Just move it over a little bit more.
Check out arrow. Check it out. Arrow is rad.
All right, this is almost done. We're so close chat. We're so close.
All right, we're getting there. Troll C, control V. And now I'm going to go center and then drag it in from the center, which is awesome.
She can pull in all of these as well from the center and just finesse it faster. Finesse. We did it.
We did it. All right, now I'm going to grab all the cylinders that we have and then group them back again with Command G. Then I'm going to just turn my camera just a tiny, tiny bit and then move it down.
Boom. Who would have thought Behance would become my favorite hangout? I did. I knew it the whole time.
I'm so glad you're enjoying all the content on Behance now. Been long time coming. They used to be on Twitch as well with all the creative streamers back then and then brought them all over to their platform.
Now we all get to hang out together. It's good place. Lots of really great content.
It's always mesmerizing to see what all the streamers create and the content. I mean, the stream right beforehand, you're learning how to do kids designs and art, and I'm just baffled by Kyle's ability. All right, so we got, like, three minutes left, so I'm going to show you kind of we'll save it real quick.
I know it's dangerous. You got to save these things. All right, let me show you where we're at.
So now that I've got this here, I'm going to actually take the whole text section and this group actually, I need to move that up, and I'm going to rotate it, and I'm going to pull it out of the wall or ground a little bit, position my camera in a more interesting frame. But what we can do is we can also take those we can take those cylinders that we have and make little screws out of them later on and just kind of, like, show them around the A's. And like I said, I'll bring it into Photoshop and kind of show the path where the screws would go throughout each of these little sections.
But let's see here. Now I can render it's a little blown out. Oh, I got the environmental light on.
Let me turn it off and see what happens. It might be too dark. I need the environmental light just a tad right now because I don't have another glow plane kind of lighting the far left side of the screen.
So I'm going to turn down the intensity from the environmental light, and I'm going to rotate. See, that might work really nice. It's kind of like the adobe kind of, like, logo a little bit.
I'm going to actually select these groups again, and I'm going to rotate it even more. I might want to get kind of in there more with the camera again. I can change the glows on all those beautiful neons we did.
I can change the gel if I think that the gel is a little bit too transparent, which are not transparent opaque. Let me actually just adjust that really quickly and turn on the opacity. Just even let's see what that does.
It's a little bit better, but let me see if I can actually just translucent. Let me play with the translucents and turn back up the opacity. I think translucent might get me what I want.
Oh, no, that's more solid. It could actually be cool where you're just, like, treating it more of like an actual neon sign. And you kind of have to have the could turn up the glow from the lights themselves and really have it blast through.
So there's a lot of things you can play with, especially in this whole 3D world we have. Definitely recommend trying out all these new features that we have in Dimension. You mentioned 3d Type Day challenge.
Can you offer more details? If you go to 36 Days of type that will give you all the explanations. Essentially, just do one character a day and post it on Instagram Behance. I'm going to do that.
So make sure to follow me on Behance. I'll go live streaming it and all that content for you. We'll be there.
You can also see what we're doing with all dimension stuff. It's going to be great. We're running out of time.
We're kind of done. I'm the last one today, but you're going to have it bright and early with Shauna Shawna's in Chat today. Don't want to miss it.
She does a lot of really great hand lettering work, and we've been doing a lot of really great stuff together on Just Behance Live as well. So it's been a lot of fun. Give her a follow.
Kathleen's also incredible. Just the whole day is stacked. You got Hawk, Ratle, Jess, Kyle, T.
Webster right before the show, kind of showing you what's possible with everything. So definitely check it out. Thank you guys for hanging out today.
I greatly appreciate it. Thank you for seeing this kind of creation come to life. Tomorrow we'll be back at it.
We are going to do all the crazy stuff that I showed at the very beginning of the stream to make a more abstract version of the letter C because I already have B done. So we're going to pick it up with C and do like a whole diagram thing. But anyways, thank you so much for hanging out.
I'll see you all later. Bye.
