Make your
first 3D
expedition.

Do this

1. Extract the starter ZIP into a new folder named Lastname_Skybound. Do not work inside the compressed ZIP. Keep the OBJ and MTL together in its starter folder.
2. Create three empty folders inside your project: 3D_Work, My_Renders and Photoshop_Work. Keep the supplied texture and landscape files in starter.
3. Open Core_Final.jpg in the guide. Identify the single large balloon, the light arriving from the upper left, and the small amount of mist crossing its lower section.
4. Write a one-sentence goal: “I will make a 3D balloon belong in a photographed landscape by …”. Choose the core route first; the city, fleet and poster are extensions.
5. Confirm that your teacher has preflighted Blender 4.5 LTS and Photoshop desktop on this computer. A three-button mouse helps, but the View menus provide alternatives.

Evidence checkpoint: Record your goal and any prepared support you expect to use.

Do this

1. Choose File > New > General. Click outside the splash screen. Select the Layout workspace at the top.
2. Locate the large 3D Viewport, the Outliner at the upper right, and the Properties editor below it. These are different editors: shortcuts act in the editor under your pointer.
3. Move the pointer into the 3D Viewport. Confirm the mode menu says Object Mode. Press A to select the startup cube, camera and light; press X, then confirm Delete.
4. Choose File > Save As. Save Lastname_Skybound.blend in 3D_Work. You will save again after importing, texturing and rendering.
5. Leave the central 3D cursor at the world origin. To reset it, use Shift+S > Cursor to World Origin with the pointer over the viewport.

Do this

1. Navigate to starter and choose Balloon_Classroom.obj. Show the import options on the right of the file browser.
2. Set Scale to 1.000 and Clamp Bounding Box to 0 (disabled). Set Forward Axis to Y and Up Axis to Z. These settings preserve this prepared Z-up model’s coordinates.
3. Enable Split by Object. Disable Split by Group and Vertex Groups. Keep Validate Meshes enabled. Click Import Wavefront OBJ and allow the import to finish.
4. With the imported parts selected, choose View > Frame Selected in the 3D Viewport. The envelope should be upright above the basket.
5. Check the Outliner for Envelope, Rigging, Basket and Hardware. Do not rename them yet; the next steps use these names.

Do this

1. Drag with the middle mouse button to orbit around the balloon. Hold Shift while middle-dragging to pan. Scroll the wheel to zoom.
2. Choose View > Viewpoint > Front, then Right, then Top. With a numpad, the corresponding shortcuts are Numpad 1, 3 and 7.
3. Return to Front. Use View > Frame Selected when you lose the model; press Home to frame everything in the scene if nothing useful is selected.
4. On a mouse without a middle button, use the viewport navigation gizmo: drag the axis control to orbit and use the hand and magnifier controls to pan and zoom.
5. Observe which parts overlap in each view. Write the difference between orbiting the viewport and rotating the balloon itself.

Evidence checkpoint: Demonstrate orbit, pan and Frame Selected to your teacher or partner.

Do this

1. Click Envelope in the Outliner. Notice that the fabric becomes selected in the viewport. Select Basket, then Rigging, then Hardware to compare their roles.
2. Use the eye icon beside Envelope to hide it temporarily. Inspect the basket, lines and small hardware. Click the eye again to restore the fabric.
3. Click Envelope and press N over the viewport to open the Sidebar. In Item, inspect its Location, Rotation and Scale. Do not edit these values yet.
4. Choose View > Viewpoint > Front. Confirm that all four parts are visible again. Save the .blend file.

Do this

1. Over the viewport, use Shift+S > Cursor to World Origin. Choose Add > Empty > Plain Axes. Rename the new Empty BALLOON_CTRL using F2.
2. The newly added Empty is the active object. With the pointer over the viewport, press A to select all five objects while keeping the Empty active.
3. Check the active object name is BALLOON_CTRL. If it is not, deselect everything, select the four meshes, then Shift-select the Empty last.
4. Use Object > Parent > Object (Keep Transform), or Ctrl+P and choose Object (Keep Transform). Expand BALLOON_CTRL in the Outliner.
5. Confirm that Envelope, Rigging, Basket and Hardware are children. Leave all controller transforms at their defaults: location 0, rotation 0, scale 1.

Do this

1. With the pointer in the viewport, press G, then X, type 2 and press Enter. The entire balloon moves two units along X. Undo with Ctrl+Z.
2. Press R, then Z, type 30 and press Enter. Inspect the changed face of the balloon. Undo to return to the starting rotation.
3. Press S, type 0.8 and press Enter. All parts should shrink together. Undo again.
4. Open the Sidebar with N. Verify BALLOON_CTRL has Location (0, 0, 0), Rotation (0°, 0°, 0°), and Scale (1, 1, 1). Type those values explicitly if needed.
5. Press Esc or right-click to cancel an unfinished transform. Save only after you have restored the baseline.

Evidence checkpoint: Explain why you used the controller rather than selecting Envelope alone.

Do this

1. Choose Object > Shade Smooth, or press F3 over the viewport, search Shade Smooth and run it. This changes the shading of the existing faces.
2. Inspect the silhouette and panel lines. Do not add Subdivision Surface, Remesh or a new UV unwrap. Those operations are unnecessary for the first lesson.
3. Press Tab once to look at Edit Mode. Observe the many vertices and edges, but do not transform or delete them.
4. Press Tab again to return to Object Mode. Check the mode label explicitly, then save.

Do this

1. Click the Shading workspace tab. Find its 3D Viewport and Shader Editor. Confirm the Shader Editor context is Object rather than World.
2. Click the Material Preview sphere at the upper right of the viewport. Allow the preview shaders to load.
3. In Material Properties, confirm Envelope has MAT_Envelope. In the Shader Editor you should see Principled BSDF connected to Material Output.
4. If there is no node graph, enable Use Nodes for that material. If necessary, click New once to create a material for Envelope and name it MAT_Envelope.
5. Use the Shader Editor’s View > Frame All to find nodes that are off screen. Do not disconnect the existing BSDF-to-Surface connection.

Do this

1. With the pointer in the Shader Editor, choose Add > Texture > Image Texture. Place the new node to the left of Principled BSDF.
2. Click Open on the Image Texture node. Choose starter/Skybound_Texture.png. Leave Colour Space at sRGB, Projection at Flat and interpolation at Linear.
3. Drag from the Image Texture node’s yellow Color output to the Principled BSDF yellow Base Color input. Leave the Image Texture Alpha output unconnected.
4. Leave the Vector input unconnected: the image uses the existing active UV map. Keep Principled BSDF connected to Material Output > Surface.
5. Inspect the fabric in Material Preview. The large SKYBOUND lettering should wrap around the front. Save the .blend file.

Evidence checkpoint: Capture your own Shader Editor showing the image node and its connection.

Do this

1. Switch to UV Editing. With the pointer over the 3D Viewport, press Tab for Edit Mode and A to select all Envelope faces.
2. In the UV Editor, choose Skybound_Texture.png from the image selector. Use View > Frame All to see the full layout.
3. Compare the UV edges with the flat bands and lettering. Some coordinates wrap around the image edge because the fabric wraps around a three-dimensional surface.
4. Do not choose Unwrap, Smart UV Project or Cube Projection. The supplied map is already aligned to this artwork.
5. Return to Object Mode with Tab and switch back to Layout or Shading. Save without changing the UV coordinates.

Do this

1. Set Metallic to 0.00 and Roughness to 0.65 on Principled BSDF. Keep Alpha at 1.00; do not add transmission or emission.
2. Briefly test Roughness 0.15. Observe the tighter, glossier highlight, then restore 0.65.
3. Leave the basket and rigging materials separate. A dark basket is acceptable at this stage; lighting is next.
4. Return to the front view and check the wordmark. Save the file.

Do this

1. Choose Add > Camera. Rename it Camera_Render using F2. Do not parent it to BALLOON_CTRL.
2. Open the Sidebar with N > Item. Set Location X 0, Y -26, Z 6. Set Rotation X 90°, Y 0°, Z 0°. Leave Scale at 1.
3. In Camera Data Properties (camera icon), change Type to Orthographic and set Orthographic Scale to 14.4.
4. Choose View > Cameras > Active Camera, or press Numpad 0. The camera looks from negative Y toward the front of the model.
5. The orthographic setup is a beginner framing aid. Keep it for the core; do not try to match the photograph by stretching the render.

Do this

1. Under Format, set Resolution X to 1200 px, Y to 1200 px, and Percentage to 100%. Set Pixel Aspect X and Y to 1.000.
2. Check the camera view again. The square frame must include the entire basket and fabric. Leave the camera at the numeric setup from Step 13.
3. In Render Properties > Color Management, use the AgX View Transform and leave the other display settings at their defaults for the first tests. Do not change the view transform between A and B renders.
4. For a faster test later, change only Percentage to 50%. Return it to 100% before saving final renders.
5. Save the .blend file. A consistent canvas will make replacing a render in Photoshop much easier.

Do this

1. Choose Add > Light > Area. Rename the light Key_Area. Open N > Item for its transforms.
2. Set Location to (-6, -8, 13). Set Rotation to (59.04°, 0°, -36.87°). Do not rotate the balloon instead.
3. In Light Data Properties (lightbulb icon), set Power to 1800 W, Shape to Square and Size to 5. Set the light colour to a pale warm tint, such as hex FFE5C5.
4. In Render Properties choose EEVEE. Switch the viewport to Rendered shading, then look through Camera_Render.
5. Observe the envelope’s upper-left side. The key should create the dominant light direction; the values are starting points for this prepared model, not universal settings.

Do this

1. Choose Add > Light > Area and rename it Fill_Area. Set Location to (5, -4, 7) and Rotation to (90°, 0°, 51.34°).
2. In Light Data Properties set Power to 500 W, Shape to Square, Size to 6 and colour to neutral white. The fill must remain weaker than the key.
3. Open World Properties > Surface. Use Background, set Color to a medium neutral grey (hex 808080 as a starting point), and set Strength to 0.30.
4. Inspect Camera_Render in Rendered mode. If EEVEE does not give you useful World fill without additional probes, use the Area fill as the core control rather than building a probe system.
5. Check the Outliner: the camera and two lights must be beside BALLOON_CTRL, not underneath it. Save.

Do this

1. Compare your balloon with the left-side light in Landscape.jpg. Look at the fabric, not just the background colour of the viewport.
2. Test Key_Area at 900 W, then at 1800 W. Return to the value that preserves the cream band without losing the darker side. Write down your chosen value.
3. Check Fill_Area separately. Keep it weaker than the key; adjust only its Power when the basket or right-side fabric is too dark.
4. Keep the texture and camera unchanged during this test. Do not use emission to make the label brighter.
5. When the direction and contrast are clear, save the .blend. Your render need not have the identical colour of the VTK teaching example.

Evidence checkpoint: Record one lighting change and the visible effect it produced.

Do this

1. In Render Properties expand Film and enable Transparent. This hides the background from the camera render; it does not make the balloon transparent.
2. In Output Properties choose PNG as the image format, RGBA as the colour channels, and 8-bit colour depth for this classroom composite.
3. Use Output Percentage 50% for the first test. Leave Camera_Render active, the model visible and both Area lights enabled.
4. Open Render > Render Image, or press F12. A checkerboard should surround the object in the Render Result.
5. Remember that these scene settings do not replace the separate Image > Save As step. The save dialog must also retain PNG and RGBA.

Do this

1. Choose Image > Save As from the Render Result window. Navigate to My_Renders and name the file Balloon_TEST.png.
2. In the save options confirm PNG, RGBA, 8-bit and Save As Render enabled. Click Save As Image and confirm the location if prompted.
3. Open the saved PNG to check the real exported file, not just the Render Result. It should be 600 × 600 when the 1200-pixel scene was rendered at 50%.
4. Inspect the basket, wordmark and thin ropes. A black or white background in an image viewer can simply be its way of displaying transparency; test over another colour when uncertain.
5. Return to Blender and correct one issue before the final renders. Do not enlarge this small test to create your final image.

Evidence checkpoint: Keep the test file and note one improvement for the final render.

Do this

1. Restore Output Percentage to 100%. Set BALLOON_CTRL Rotation to (0°, 0°, 0°). Keep Camera_Render, lights and resolution unchanged.
2. Choose Render > Render Image. Save through Image > Save As as My_Renders/Balloon_A_Front.png, PNG/RGBA/8-bit with Save As Render on.
3. Select BALLOON_CTRL again and set only Rotation Z to 30°. Render again and save Balloon_B_Turned.png with the same image settings.
4. Open both PNGs side by side. Look for changed lettering position and a different visible side, not merely a flat picture tilted clockwise.
5. Return the controller to Z = 0° for the core composition and save the .blend. Keep both renders as evidence of your 3D work.

Evidence checkpoint: Submit your own A and B renders, plus a sentence comparing them.

Do this

1. Choose File > External Data > Pack Resources. Then save the .blend file again; the packing is written into the saved scene.
2. Confirm the file name is 3D_Work/Lastname_Skybound.blend. Do not overwrite the classroom OBJ or your texture artwork.
3. Close and reopen your saved .blend after saving all work. Inspect the material and hierarchy to check that the file opens correctly.
4. Keep the original source folder and My_Renders as well. Packed textures are helpful, but they do not replace your separate PNG exports.
5. Capture your own Outliner/scene view showing BALLOON_CTRL, its four children, Camera_Render, Key_Area and Fill_Area.

Evidence checkpoint: Submit a scene screenshot and the packed .blend file.

Do this

1. Choose File > New. Set Width 2000 pixels, Height 1333 pixels, Resolution 72 pixels/inch, RGB Color, 8-bit and sRGB IEC61966-2.1. Use a white background.
2. Name the document Lastname_Skybound. These dimensions match the supplied landscape; resolution here is for a digital composition, not a large-print claim.
3. Open Window > Layers and Window > Properties. Use View > Rulers if guides help you plan the layout.
4. Save as Photoshop_Work/Lastname_Skybound.psd. Keep layers enabled. The file is initially almost empty; that is expected.
5. Use the core reference to reserve the right side for the main balloon and the open left side for depth or later typography.

Do this

1. Choose File > Place Embedded and select starter/Landscape.jpg. Fit the entire photograph to the canvas without cropping or stretching. Press Enter/Return to commit.
2. Rename the layer LANDSCAPE. Confirm the thumbnail has a Smart Object badge. Leave its blend mode Normal and opacity 100%.
3. Choose Layer > New Adjustment Layer > Hue/Saturation. Name it LANDSCAPE_SAT and click OK.
4. With that adjustment selected, choose Layer > Create Clipping Mask so it affects only LANDSCAPE. Set Master Saturation to -16 as a starting point; leave Hue and Lightness at 0.
5. Delete the unused white Background layer only after the photograph covers the entire canvas. Save.

Do this

1. Choose File > Place Embedded and select your My_Renders/Balloon_A_Front.png. Do not use the supplied support unless your teacher has approved the supported route.
2. Rename the new Smart Object BALLOON_RENDER. Keep the proportions linked and the blend mode Normal at 100% opacity.
3. For a complete 1200 × 1200 PNG canvas, the target centre is X 1430, Y 650. In Free Transform, use the centre reference point and set W/H to 100% when Photoshop imported the image at its original size.
4. When the version trims transparent margins, use the visual reference instead: place the visible envelope in the upper-right area and the basket above the foreground, with all parts on canvas. Do not stretch it to force the numeric target.
5. Commit with Enter/Return. Confirm the landscape is visible through rope gaps and around the object. Save.

Evidence checkpoint: Record whether you used your own render or an approved prepared support.

Do this

1. Choose Layer > New Adjustment Layer > Curves. Name it BALLOON_TONE. Place it immediately above BALLOON_RENDER and choose Layer > Create Clipping Mask.
2. In Properties, add an RGB curve point near the middle. Use Input 128, Output 120 as a mild starting darkening; leave the end points unchanged.
3. Toggle the adjustment’s eye icon to compare. Keep readable highlights on the cream label and visible detail in the basket.
4. Your Blender lighting may already match well. Reduce the correction or leave the curve close to neutral when a darker result loses the form.
5. Inspect the balloon against nearby sky, not only against bright highlights. Save the file.

Do this

1. Add another Curves adjustment named BALLOON_LIGHT above BALLOON_TONE. Use Layer > Create Clipping Mask so it also clips to BALLOON_RENDER.
2. Set a gentle brightening point, Input 128 and Output 144. Click the adjustment’s white mask thumbnail, then press Ctrl+I (Windows) or Cmd+I (Mac) to make the mask black.
3. Press B for Brush. Choose a soft round brush, Hardness 0%, Size about 250 px, Opacity 15%, Flow 100%. Set the foreground colour to white.
4. Paint a few light strokes on the mask over the envelope’s upper-left fabric. Keep the wordmark readable and the right side darker.
5. Toggle BALLOON_LIGHT to compare. Lower the adjustment opacity or paint black on its mask to reduce an exaggerated highlight.

Evidence checkpoint: Capture one mask and explain what white and black mean in that mask.

Do this

1. Choose Layer > New > Layer. Name it FOG_FRONT. Do not clip this layer: atmosphere should be able to cross both the object and background.
2. Set the foreground colour to pale blue-grey, hex CBDBD8. Use a soft round Brush, Hardness 0%, Size 400–700 px, Opacity 10%, Flow 100%.
3. Paint a small amount near the lower basket and rigging, then a faint horizontal patch in the distant valley. Leave the upper branding and most of the envelope clear.
4. Lower the layer opacity when the fog looks like a solid brush blob. Erase nothing from the balloon; use a layer mask on FOG_FRONT to hide excess fog.
5. An approved alternative is File > Place Embedded > Mist_Support.png above the balloon at full canvas size. Use either your painting or the support first, not both at full strength.

Do this

1. Choose Layer > New Adjustment Layer > Photo Filter. Name it GLOBAL_WARMTH and leave it unclipped so it affects the whole scene.
2. Select Warming Filter (85), set Density to 8%, and enable Preserve Luminosity. Treat this as a starting point.
3. Compare with the adjustment off. Reduce its Density when the cream label becomes yellow or the greens lose their character.
4. Check the final order against the layer diagram: GLOBAL_WARMTH, FOG_FRONT, the two clipped balloon adjustments, BALLOON_RENDER, clipped LANDSCAPE_SAT, LANDSCAPE.
5. Save the layered PSD. The core image is now complete enough for the round-trip and quality checks.

Do this

1. In Blender, make one small deliberate change: for example, change BALLOON_CTRL Z rotation from 0° to 10°, or lower Key_Area power slightly.
2. Keep the same camera, 1200 × 1200 resolution and transparent margins. Render a new image and save Balloon_C_Revision.png as PNG/RGBA.
3. In Photoshop, select BALLOON_RENDER. Choose Layer > Smart Objects > Replace Contents and select Balloon_C_Revision.png.
4. Inspect the updated image. The transformation should be retained, but revise local highlight and fog masks when the new angle changes where they belong.
5. Keep the version you can justify. Undo the replacement if A communicates better, but retain C and your explanation as revision evidence.

Evidence checkpoint: Write: “I changed ___ in Blender. In the composite, that improved/changed ___.”

Do this

1. Choose View > 100%. Pan around the envelope edge, rope gaps and basket. Look for a background rectangle, dark fringe, clipped parts or accidental blur.
2. Check that the label is readable and highlights are not blown out. Compare the light direction on the balloon with the upper-left light in the landscape.
3. Choose View > Fit on Screen, then zoom farther out. The main balloon should be the first thing you notice, with the landscape supporting its scale.
4. Toggle FOG_FRONT and the local adjustments individually. Keep only changes that help the image. Use the correct mask or 3D source to repair the cause.
5. Save a final layered version before trying any optional extensions. Do not flatten the only editable file.

Do this

1. Save Photoshop_Work/Lastname_Skybound.psd with layers. Also save 3D_Work/Lastname_Skybound.blend with packed resources.
2. In Photoshop choose File > Export > Export As. Select JPG, keep Width 2000 and Height 1333, and enable Convert to sRGB and Embed Color Profile when available.
3. Use a high quality setting, around 85% when the dialog uses a 0–100 scale. Export as Lastname_Skybound_Final.jpg. Do not change the PSD’s only copy to JPEG.
4. Open the exported JPEG and check it. Confirm it is the intended version, not a test render or a screenshot of the workspace.
5. Keep your A, B and C transparent PNGs in My_Renders. Export or back up your guide notes too; browser storage alone is not a submission.

Do this

1. Submit the final JPEG, layered PSD, packed .blend, two different-angle PNGs, and your exported process notes using your teacher’s submission method.
2. Include a screenshot of the image-texture node connection and one of the parent hierarchy. Use your own screenshots; guide diagrams are not evidence of your work.
3. Answer: What changed when you rotated the model rather than the PNG? How did the UV map place the wordmark? Why did you need RGBA?
4. Explain one lighting decision and one compositing revision. Point to a visible change, not only a setting number.
5. Declare any prepared renders, mist or other supports used. Record source-file credits and the permission status before public posting.

Evidence checkpoint: Complete the reflection and support declaration before checking this step off.

Do this

1. Open Texture_Blank.png. Preserve its 1571 × 887 dimensions and existing bands. Save a layered copy as Photoshop_Work/My_Expedition_Texture.psd.
2. Add a centred text layer in the cream band. Use a bold installed sans-serif font, about 80–95 px, dark navy 173B52. Keep the main word within roughly X 430–1140 and Y 315–435.
3. Add a short secondary line in the dark middle band near Y 535. Start around 36–42 px, warm cream FFF0D2. Use an original fictional expedition name; avoid unverified real-event claims.
4. Keep important lettering away from the far left and right edges where the wrap seam falls. Do not paint shadows into the artwork; the 3D lights will create them.
5. Export a full-size PNG named My_Expedition_Texture.png. Keep the layered PSD so you can change the text after seeing it on the balloon.

Do this

1. In Blender open the Image Texture node’s image selector or Open control and load My_Expedition_Texture.png. Keep its Color output connected to Base Color.
2. Inspect the front and a turned view in Material Preview. Correct text position in the texture PSD when the curve hides important letters; export the PNG again.
3. When reusing the same image file name, reload it through the Image Editor’s Image > Reload after saving the new PNG. Packed copies may need reopening from the updated external file.
4. Render with the same camera and transparent canvas. Save Balloon_Custom.png, then use Photoshop > Layer > Smart Objects > Replace Contents on BALLOON_RENDER.
5. Review the local masks, save the custom PSD, and Pack Resources plus save the updated .blend again.

Do this

1. Choose File > Save As and create Lastname_Skybound_Fleet.psd. Keep the completed core version unchanged.
2. Place your own Balloon_B_Turned.png twice as separate Smart Objects below the main balloon. Start with one complete PNG about 390 × 390 at centre (825, 375), and another about 225 × 225 at centre (513, 473).
3. Keep each balloon at 100% layer opacity. Reduce its contrast with a clipped Curves adjustment and add a small pale blue-grey clipped colour overlay at about 15–30% opacity to suggest haze.
4. Use the smaller, hazier balloon for greater distance. Keep all baskets clear of awkward overlaps and do not make every balloon the same angle.
5. Compare at thumbnail size. The large right balloon must remain the focus. Save the extension separately.

Do this

1. Place starter/CityOutline.png below the main balloon and foreground mist. Scale proportionally to about 240 px wide and place it in the far valley, around top-left (870, 410).
2. Use clipped Hue/Saturation with Colorize as a starting point: Hue about 155, Saturation about 20, then adjust Lightness slightly upward. Keep the city pale and low-contrast.
3. Add a layer mask to the city. Paint black with a soft 60–100 px brush over the lower building edges so the base disappears gradually into distant haze.
4. For an intentional apparition, set the city opacity near 50–60%. This transparency is a fantasy choice, unlike the solid balloons in E3. Name the layer MIRAGE_CITY.
5. Keep the effect small. Save this as a separate story version and explain why the city is a mirage rather than a physically solid settlement.

Do this

1. Place starter/Clouds_Storm.jpg above the landscape but below all balloons. Scale it across the upper canvas. Keep blend mode Normal initially.
2. Add a layer mask and invert it to black with Ctrl/Cmd+I. Choose a soft white Brush at 15% opacity and 300–500 px size.
3. Reveal clouds near the top corners only. Leave a broad opening around the original upper-left light and preserve the horizon and rock silhouettes.
4. Lower the cloud layer opacity to about 30–50% as a starting point. Add a clipped Hue/Saturation correction when the cloud tint conflicts with the scene.
5. Judge whether the new cloud framing strengthens the story. Keep the clean core version too. A tornado is deliberately outside this first-3D lesson.

Do this

1. Add a blank layer beneath new type but above the scene. Name it TYPE_BACKING. With a very large soft navy brush at low opacity, darken only the lower-left area; leave the main balloon untouched.
2. Use the Type tool to add SKYBOUND or your fictional expedition name near X 95, Y 1030. Start with a bold installed sans-serif at about 110–120 px, colour FFF0D2. Keep this as live type.
3. Add a smaller line near X 100, Y 1180, around 30–34 px: “A new perspective starts here.” Add a small “Fictional expedition • student design concept” label below.
4. Align the left edges and leave at least 90 px of breathing room. Use the title, supporting line and concept label to create three clear text levels.
5. Save the layered poster PSD and export a separate final JPEG. The campaign extension does not replace your core .blend, A/B renders or reflection evidence.