How to Create Colorful 3D Paint Stroke Posters in C4D & Photoshop | Noah 'Qehzy' Kline | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

How to Create Colorful 3D Paint Stroke Posters in C4D & Photoshop

teacher avatar Noah 'Qehzy' Kline, Graphic and Web Design

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

7 Lessons (38m)
    • 1. Introduction

    • 2. Setup

    • 3. C4D Object

    • 4. C4D Paint Stroke Creation

    • 5. Photoshop Render Setup

    • 6. Photoshop Effects & Text

    • 7. Final Touches

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

In this class, I will be showing you how to create a 3D paint stroke render in Cinema 4D. Then we'll be going into Photoshop to create a poster with our render as a focal point.

Some of the things you'll learn in this class.

  • Creating a 3D paint stroke render in C4D
  • Use the spline tool in C4D
  • Creating a paint material in C4D
  • Setup up a poster design
  • Adding light to a poster and render, and enhancing color.
  • Adding text to poster and using a layer mask to create depth.

Experiment with different designs and images to get varying results!

Meet Your Teacher

Teacher Profile Image

Noah 'Qehzy' Kline

Graphic and Web Design


Class Ratings

Expectations Met?
  • 0%
  • Yes
  • 0%
  • Somewhat
  • 0%
  • Not really
  • 0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Introduction: you guys know or quasi here and in today's class, I'm gonna be showing you how to create thes paint stroke posters in Sima 40 and Photoshopped. We're going to start in cinema four D with an object and we're gonna add some effects to it as well as these three D paint strokes. We're gonna render them out, go to photo shop and we're gonna add some effects and a border. Add some text in there and clean it up to get our final poster product. This class is a lot simpler than it looks, So any level can follow along and complete this class. No, let's go ahead and get started. 2. Setup: before we get to class started, we have to get everything set up first. Um, so a few things you're gonna want to need in cinema four d r a light room or something with fairly decent lighting. You can just set up some quick lights, um, or use a light room you have or light studio. I will be using my own light studio, um, that I used for ESPN work and things like that. And I use it for all my objects and texts now, and it's available in my story that interest you at all. And I'm gonna be using a paint material from my CIMA 40 materials pack one of these down here, as you can see. But the pain material is pretty easy to recreate. All you need to do is go ahead and find some paint textures somewhere. So I'm sure you can google him and something like this would be great. So trying to find ones like this where it has paint lines and something like that and try to find one that is free to use and they'll be the base of your texture. Now, I will also be using an object from three d scans dot com These air all free so you can visit here and find something you like or you can use text. Or you could just not use an object and add an image later, such as this messy poster. And then finally, you want to get some sort of paint stroke like something like this, the one I will be using. Looks like this. Can I actually got mine from free pick dot com. So if you tape in paintbrush, you can see there is a bunch of different brushes you confined here. Just make sure you filter and use the free one and try to find a breast stroke. Or if you have a brush in photo shop that you can use or illustrator, feel free to use something like that. But you can see we have a bunch of brushes here and you just want to save it. Um, like this. It could have a black background and be white in the middle. Or like in this case, it's black with the white background. Anything like that works 3. C4D Object: All right. So we're in cinema four D now, and we're gonna first set up our object. So we're gonna use an object from thes E three D scans website, and I'm gonna be using Napoleon, which, if you have watched my other classes, you would have seen me use this one a couple times. It's one of my favorite ones from their site. We're gonna drag this in here. It will open its own document here, and I should have selected not to add this material in, but I'm just gonna delete it. Copy the object. Go to my window, go to the light room. I'm working in and paste it in. Now, this is the light room I mentioned in the set up my own light room, and it just simply has a few lights hidden for the render. So it's a little darker than normal because I'm abusing a white material and some colorful materials. And when on the lights were on, it was just a little too bright for what I wanted. And in photo shop, we can take the dull color and make it pop a little more anyway, So that's why I did that um, it's up to you if you do that or not. And you can kind of see what the render will look like at the end and kind of adjust your lighting accordingly. Um, but really, you just have to make sure it renders pretty evenly the lighting that is and frightening. I'm going actually hide the lights here. So we have our object now, you could replace the object with text, or you could just skip over this part and just do the brushes. But if you do at an object like this, one effect that I did that I think looks really cool is adding a twist. Shopping that into our object clicking fit to parent and then divide that number there by like, three. So it's about 1/3 of the size drag it down towards the bottom here and actually will go a little bigger. Let's make that 1 65 I suppose, um, and Cynthy angle to 360 and you get this twist, which I think looks really nice, and I'm actually gonna make it slightly bigger, maybe drag it down slightly, and there we go. And I think this twist effect looks really nice. And in the version I did, I was actually able to align the paints world with this twist, and I don't even think you notice it. But I think that's a good thing, because I think it makes it even better, and it doesn't stick out. It kind of blends in more. And now we want to add a material to this main object. And I used a white material and you can see I have a few down here that I messed with. The final one I used was this scratched one from my materials packed that I mentioned, but we're gonna go ahead and just creating new material here anyway, since go ahead, creating new material on the color, we're just gonna click it slightly more towards white. So it's about 87 there. And then let's open up the little drop down arrow and add some noise. Click that go over to the different noise. Affect is you can choose from, and I like to do born oy to global scale. Let's bump that up to, like, 300 the color We can just make a gray something like that, and you could even make that great a little closer to white, so it blends in slightly more. And you could, ADM. Or you can add some textures you can have like a marble texture. You could do really whatever for this material, but I kept it as simple as I could. The scratch material I originally used adds some scratch effects in different areas, which also looks pretty cool. But, I mean, we'll keep it simple for this one and just pop that on, since this object actually has some texture to it, it really doesn't need textures on the material. But obviously, depending on the object to use, you might want to mix it up. 4. C4D Paint Stroke Creation: Now we want to go ahead and create the paint stroke. So the first thing we're gonna do is go to these spines and get a helix. Go ahead and set that toe X Z. So it's like that and I'm gonna go ahead and hide the twist effects. We can see this little better so you can see our helix here and now we want to adjust some settings now, depending on the light room or how big your object is. The settings may vary, So you just want to try toe, recreate this as best as you can. But for the start radius, I wanna bump this up to about 360 and that will increase the bottom and radius. We're gonna bump up to, like, 2 50 and that's slightly increases the top radius. But the bottom radius is still slightly bigger. Radio bias. Um I mean, we can change this later on, depending on what we want visible of the object. But I'm gonna make this 70 for now, and then the height we're gonna have to increase. So let's go ahead and drag this towards the bottom and then just increase that till it extends above our object. Something like that. Bring it low. And now you can see how this follows the twist effect we added, which is sort of what we're going for. So the height is 602 We might have to make that little bigger, depending on how our material looks on the object, we will add, um, high bias. Let's bump that up to about 65 and then adjust accordingly. There we go. And that should be good for now. We can come back and adjust those things in a little bit now, But let's go ahead and create the actual object itself so we wouldn't get a plane and I'm in a camera view right now, so I'm gonna hop out of that so we can kind of roam a little bit and we're gonna check this off to the side and I'm gonna make it the height About 1000 and the with, like, 125 ish and we're gonna add a extra zero there. There we go, Something like that, and I'm gonna add ah, 100 segments to the height. So if we stood the line shading, we have like this nice grade going on on this plane, and that just will make sure that when we add the spine wrap, it is as smooth as possible. And we'll at a subdivision surface to make it look more organic. But if we do that with fewer spines, it's just gonna look very Jaenke. So you want to create, like, a grid on top of that And now this is gonna be our pain stroke. So it's kind of displace it a little bit to make it look a little more like paint. Looks like when you have it on a brush and you put it on canvas. So we're gonna add a bit of a display, sir. And also having all those segments on the plane will help this displace or look even better . So added into the plane ago to shading. And we're just gonna do noise and you can see that it already has. In effect, we're gonna come in here and we're gonna change the noise. I'm actually gonna go by name into Luca and on the global scale, we're gonna make that 1000. So it's really zoomed in there and just creates more of like a softer displace effect. Now it is still a little rough. But keep in mind, we will be adding a subdivision surface, so it should look a little better when we do that. So we're gonna go back to the display, sirs, and get in f f d. Add that to the plane and fitted to parent. And on this size here, we're gonna increase it to, like, five ish Kale. With these grid points. Now, we're gonna come down to Z make that about 40. Um, you could do more or less. Actually, we'll make it like 25 cent. You go too crazy. Why point or ex points? Rather, maybe we bump up. I don't wanna go more than four, actually, I think I might go to Teoh. I'm actually gonna keep it at three. Let's keep it at three. I think that will be the best. And then if we go over and allow us to select points and let's actually go toe why and make it to we can come in and just raise and lower some of these points. I'm actually gonna just the, um Why points to be or dizzy points to be 10 now because I realized it's probably way too many to go through and adjust. Ah, but having 10 is a pretty solid number to modify, so I'm gonna go with that. So there we go. We move some points up and down. And if we go ahead and hide this, you get something like this so you can see it's all rough and sort of looks like it could be painted, but not quite. We have one more thing to do, and that is to add a subdivision surface and pop that on, and now it looks more like a paint stroke. Obviously, it's hard to envision without the texture on it, but we will add that right now. So for the material, you want to use a painted texture like I mentioned before. So in my materials pack, I have, like these painted materials, and you can see there's this one which looks like this guy. So these painted materials all have Luminous is on him because when I created him, I needed luminosity. Eso You can easily check that off if you have the pack, but basically it is just a painted material and it looks something like that now it has a few transforms and things, but it does initially come with this distortion. But for this you actually have to disable it or else it looks really funky. So this is basically what we have here, a simple painted texture. And then there's a reflect INTs with the texture as well. But that's really not too important. But the big important thing is this Alfa, which is the brush stroke I mentioned before. So you want to come into the Alfa Channel and if this is cleared like so you want to come in here load image, Go find the breast stroke that you got earlier. Click OK, you can click. Yes, there. And then you will have to come up here to invert if the backgrounds white and the brush is black, If its inverse, you don't have to invert it. But in my case, I do have to invert it and then you go ahead and add that to the plane. And now you can see our nice brush and it looks something like that. It looks really good when you get those streaks in their it looks really nice, but if it's too bright like I mentioned earlier, it looks a little wonky. So that's why I like to render mind a little dollar. Um, so now we need this to follow our Huell X. So let's go ahead and get a spline rap. And if we open up the, um, subdivision surface in the plane, if we go to all G and put that in a knoll and then add the spline rap to it, that's blind rappel now affect the plane. And with the spine rap selected, go to where it says spine click The little arrow and click are helix and, well, we're getting something crazy looking right now, and we have to adjust some settings to get this toe look right. So first of all, the access we want is plus Z, and you can see that makes a huge difference right away. We now have somewhat nice looking, um, effect going on. We also want to offset it a little bit so we can get, um, get it to a point we like. So 13% looks to be good, cause we get a clear vision of the end here, and pretty much the end of it. Here we might have to go up one more. Yes, So 15 might look even better. And you remember how I mentioned some of this will be cut off? I actually I don't know if I mentioned it, but bottom part of this will be cut off so we can come to the helix now and drag it a little lower to fit like there. I think this is looking pretty good. Now. Obviously, this covers it's his head a little too much, but I don't want him straight on like this anyway, So let's first select the subdivision. The Helix and the group go to the rotation tool makes we have the object and rotated something like this. So it's looking a little better. We're gonna have to come in here and adjust our helix a little more. Um, so, first of all, let's actually go back to this plane, right? We're gonna have to knock back the offset to get the ends again. So actually, 12 looks like the best bet on the helix. Now, we actually want this to be a little more far apart. So for the height, we're gonna go ahead and bump it up to maybe like 700 and maybe do drag it over a little bit. And maybe we go into thestreet actu and slightly decreased this size. That's not bad. And then I actually want to increase the, um, the start radius here. Bumped that up a little more bump up the end radius, drag it down slightly. Let's actually increase that had a little more. I want that to just be slightly off his head. There we go. This comes across. I think that's pretty good. And I'm happy with that. We'll call that good. Um, of course, you can keep messing around with it. So I hopped back into my camera. And now let's add a second brushstroke a little smaller and closer to our object. So it's like the subdivision and the helix. I'm gonna press all g to group that, and you could give that a name if you'd like, but I'm just gonna go ahead and copy and paste it. And then if we open that 2nd 1 up, open up to Helix, we're gonna go to the scale tool and just scale it down. Then if we get the move tool, if you can grab that little arrow. We can move this up a little bit and we want to rotate this like, maybe like 120 degrees ish. Yeah, so around 1 20 that's pretty good. Then on the Helix, we want to go to the radio, actually, the hype, bias and bump that down to maybe 30. And it's moved that up now so you can see this follows. This goes in front, and then it comes out the back, and it doesn't really overlap with the other parts of the breast stroke, which is exactly what we want but is a little too thick right now. So let's open up the subdivision surface on that. Open up the plane and that's just decreased. The with, um, so 70 is looking pretty good, I think. And maybe we go to the spline rap and change the offset 20 now, and ideally, there would be a bigger gap between these. So let's go back to the original one, and this is the process of this. It's a lot of back and forth, so this helix we want to actually move down, top out of the camera, bring this down and increase the height a little more back into the cameras to it. That's looking like we could probably bring this down, and that's actually not looking bad. I think this is pretty close to my original render. It's gonna adjusted to get it correct in the camera view. There we go. I'm pretty happy with that. It's not perfect, but obviously play around with this as much as you need to try to get it, how you want. And you could render it like this, you could render it without the object and use these brush strokes as its own thing up to you. I'm gonna go ahead and now render this out. Um, you can also come into the size here and mess with some of these graphs. So if I press all or a command and click in the middle, I can bring down this size on that end in the size on the other end and then on rotation, we can come here and maybe rotate it like so bring it up out there. Yeah, I think that's pretty good. So I'm rendering it out at a pretty big size. You can render it however you want. I have ambient occlusion on global illumination and object glow, although that's not too important. And make sure you have Alfa Channel selected as you render it out and PNG format. So we have a transparent background and we're going to just call this paints statue, and this is actually my 5th 1 So it's name at five and render it out. My lights are hidden right now, but they will be visible for the render, so let's go ahead and do that. 5. Photoshop Render Setup: Now we're in photo shop and we want to go ahead and create a new document similar to the one you see here. And we want it to be about 8.5 by 11. Of course, you can make this any size you want if it's not a poster to make it like a banner or whatever you'd like and we're just gonna go ahead and add our render in here and I'm gonna hold all and just increase the size so it fills the document kind of like that, and press enter. You'll notice how dull this is. And that's the thing I mentioned earlier about taking away some lights. I wanted it to be a little dollar. So in Photoshop could make it brighter and actually adjust the brightness. Since if we render it too bright, it's harder to make it darker and look good. So we're gonna add a levels adjustment and bring that in a little bit and that should brighten it up somewhat. But you can see if you go too bright, how wicked it can get. So we don't do it too crazy. I'm gonna go about their for now. We might adjust that later on. Now, on the render itself, we wanna press command J to duplicate it. Right, Click and Rast arise it and we're gonna go to filter, Blur Gaussian Blur. And somewhere around 30 we want to go and press. OK, then we're gonna set this to screen and make the opacity. Maybe, like 25 backlit gives everything like a little glow to it. It makes it slightly brighter. And I just think it makes it look a little nicer. And you can bump down the opacity if it's a little too much. But we're gonna come back down to the original one here and duplicated again, and I like to bring the copy below. But you can just use the bottom most one and then press command T Let's zoom out here. I don't want to Rast Arise it yet, So I'm gonna keep it. How it is in just holding all slightly increased the size gonna press command zero and command minus to zoom back in and zoom slightly out. Then we're gonna add a layer mask down here and press command I on it. So it's completely black. We're also gonna get a the brush tool and have white selected. And hopefully you guys have some sort of brush back, and you just want some sort of splatter effect. I have a ton of, um and I like to mix it up and use different ones if you don't have a paint brush, Um, like, splatter like this. Like I have one in my brush pack. But you can just google paints bladder, Photoshopped brush back. And there's so many out there and a lot of them are better than the one I'm using here. They're more realistic, but I'm gonna be using this splatter one that looks something like this and all we're gonna do is kind of click around in some of these areas to create this like, splattering effect. And it was just something like that, and pretty simple. It just adds toothy stroke effect, and in my opinion, it makes it a little nicer. And yeah, I think that really helps. Also, I'm noticing we have a lot of dead space down in this corner, so I'm gonna actually select everything and bring it slightly down. I think that's a little better now, and let's go back to our original render here and duplicated with command J once more Bring it all the way to the bottom. And then those 1st 3 layers we worked with weaken Group and just call main and then this bottom one again We don't want to Rast arise it. We want to press community, increase the size and by not wrasse rising it it should keep the quality. Um, at least somewhat. And we want to increase the size we get this stroke in the background. So something like that and we're gonna duplicated again. And the one on the bottom we're gonna select and bring down. So we have something like that. So those brush strokes are in the background Now we're gonna suck both of them and group them double click on the background now and click OK duplicated and bring it above that group press command T. And while holding Ault, decrease the size. We get this border going around. And now what we want to do is duplicate that bottom group and on the bottom, most one, we want to just make the capacity 20% and then hide it very quickly. Then press command and click that background duplicated layer that's slightly smaller. Go to the group that's visible and click the layer mask, then press command I and then you can go ahead and delete that background layer up top. There, you can see this is now a border layer with those pain stroke effects. And then if we bring back the background color or the background group, we have a background with the stroke texture as well. It still looks little funky, so go to the background layer and at a solid color, try to find the darkest color in these strokes. So it's gonna be a green somewhere in here and then bring that green close to black like so and there is thesis. 6. Photoshop Effects & Text: now we're gonna go on to the background. So for the background, we just want out a little bit of texture so you can add, like, paint splatters or whatever. Um, for example, I did paint splatters. If we get black and white here, get your black color, I'm just going to use another splatter brush I have. Maybe this one and I'm gonna click in the corner there and then maybe to the left and in the top right corner and just bumped down the opacity slightly. And that just adds a little something to the background, which I think makes it a little nicer and go to your brushes and just get a normal soft brush now creating new layer, get white this time and go across the top and said that to overlay. And that creates the slight radiant. So it's a little darker on the bottom in a little brighter at the top, which is what we want. And you're gonna just this because we will be adding a white overlay on top of everything here soon. But this just makes it stand out even more, and I think it just makes the background a lot nicer. Now we want to go above the main folder and creating new layer. Get another paint brush splatter of some sort. But we're just gonna go ahead and add a little more interest to, um, the statue in some other places. So again, get black. I'm going to decrease the size and put this one right on this guy's head and we're gonna go around, maybe put one on there, maybe over here and then coming in from will go to the top left, and we're going to set that to overlay and decrease the opacity a lot. So maybe, like 8%. So that's just very subtle. And that gives us the same effect we have on the background just on top of some things, and you don't want it to stand out too much. You just wanted to be there to kind of mix up some of the colors. Give that splatter effect to the overall poster. Now go back to yourself. Brush. I keep flip flopping brushes, but we're going back to the self brush creating new layer. And now go ahead and click your colors. Get, um, one of the colors from your brush so there's purple and then click the other color and get another color. So okay, Corinne, and I'm gonna make that a little brighter. With these colors, we're gonna increase the size of the soft brush. So I'm at about 1500 here, and I could actually go a little higher. Let's go. 1800 with the purple, I'm gonna click in three spots. So let's go There they're and their flip it to green. And let's go into a few more like so and set that to screen and decrease the opacity. They can. Maybe 25. Although that might be too much. But I think I I think that's not bad. Well, we'll go 25 and we're gonna create another new layer. Go back to your black and white colors and have white selected. You can keep around the same brush, but we're gonna get the white and kind of follow the top here where the top of the lighting would be and set that to screen, decrease the opacity and hopefully that brains some of this up a little more. I'm actually gonna try to see what overlay looks like an increased capacity. And that might be a little better. I actually think overlay at 30% looks a little nicer than screen, which is what I originally used. But obviously you can play around and try to get the results to look good on your peace. Now, the poster is almost done, but you can tell we're missing a few things. So one big thing I don't like is that there is a lot of green on this brush here or this stroke and not a lot of purple, but there's a lot of people in the other one. So I want to bring some of that purple to this one. So it's open up the main render here and will duplicate the main statue and bring this down . And I just want this piece at top here. So that's right. Click Rast, Arise. Get the pen tool. And I'm just gonna kind of cut out a little of this. So I'm just cutting out this piece right here. I'm gonna go to selection, Okay? At zero person are a zero feather and then can c command V and then duplicate the rest of it. So we just have this little arm branch I'm gonna press command t on that and align it to the right press command. Click the bottom point and kind of extended out like so and maybe extend this other corner like that. There we go. And it's a little dollar there, so I'm actually gonna some actually create a new layer above that and then all click to make it a clipping mask. Let's make white the background color press commune delete to fill it with white and set it to overlay and slightly decrease it. So it's we want to try to blend it in with the rest of it as best we can. And I think that's pretty good with also come in. And maybe we want it to be more middle like that. Um, I do want to cut off there, so we'll do like that. Um, but we don't want this extension over here so we can create a layer mask, get a brush tool. You can just use a soft brush and kind. Ah, um, erase some of this. Get make sure you have black, like, erase it like that. Um, and I think that looks pretty good. Maybe a race a little bit of this end. Yeah, there we go. So that just brings some of that purple in. And you could do that Maybe once more to get even Maurin up to you. But that's how you go about doing that. And then we also want to add some text. So let's have some text behind here. And I'm gonna go above the white and black brushes we have here and get the text tool Flip the color toe White and I went with the Texas as swirl and I'm using the fun Pan Thanh and I put the spacing up to 200 and I'm gonna press community increased the size and just kind of fit this in the best we can. I'm gonna follow the same angle this is on which is about that and then increased font size . Something similar to this may be the angle slightly. Often we go a little more and I think that just looks really good in the background there with these elements on top of it. And I duplicated that text and compressed command t made it a little bit smaller toe. Add some subtext like by quasi, and we're gonna have to make that even smaller. All I think it's like a smaller. There we go. We can duplicate that one more time, but bring it above the render this time so we can put some text on this brush. Increase the size of it, and I want to follow this angle now, which is slightly different. But you want to be able to tell really looking at these and actually that's a little too big. Let's keep it a little smaller and we'll call this signal for D and photo shop. And I didn't like the white text on top, so I went with, like purple. So it's like purple from the brush. Maybe make it brighter or darker, like in the darker, and we have something like this. 7. Final Touches: now, this looks really good. I'm really happy with this. But we have one final thing to do, which is let everything into a group selected all holding shift and impress command G press command J and command E To merge it all into one layer, I get the rectangle tool selected all press command C command V and that will just get rid of all the edges so I can delete that. So now we have this one layer and I'm going to go to filter camera all filter. And if you watched any of my other classes, I actually have a setting with some of the settings I like. Now, this is way too saturated, so I'm gonna take some the settings, but set the saturation in vibrance to zero. But basically, we're increasing the texture all the way. And then we are increasing the vignette ing which is here. So the fourth, the last one and we went negative 100 vignette ing. Add some dark spots around the edges. Click OK, and there's our poster. Now that vignette ing might be a little too much, actually. Maybe knock it down. Um, but that's basically it. I also did one last step, which was to duplicate that Go to filter, blur radio Blur, spin good 10 click OK, and then get the eraser tool or a layer mask and just erase the important parts but leaves some of the edges, Um, blurred. And you have something like that. And I think that looks really neat as well and fits with the paint. Um, vibe we have here and that is the poster. That's how you go about creating something like this. Um, I hope you guys enjoyed this class. If you did, please leave a rating. Follow me on Twitter at Quiz E if you have any questions or just want to follow me in my work, I also have Instagram That's quasi. I have a YouTube channel with over 200 tutorials. 30,000 some subscribers, so be sure to check that out for some free videos and things like that subscribe over there . I hope you guys enjoyed, and I'll see you in the next one piece