Learn C4D and Adobe Photoshop - Inflated Animated Poster | Morgane BWK | Skillshare

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Learn C4D and Adobe Photoshop - Inflated Animated Poster

teacher avatar Morgane BWK, Visul artist

Watch this class and thousands more

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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

16 Lessons (27m)
    • 1. Intro class

      0:32
    • 2. Poster photoshop

      3:54
    • 3. Invert Poster

      0:34
    • 4. Photoshop Gradient

      0:44
    • 5. Save Both Documents

      0:51
    • 6. Create the body C4d

      1:32
    • 7. Sculpt with Stencil

      2:17
    • 8. Stencil and brush

      2:08
    • 9. Add Gradient as Material

      1:48
    • 10. Add light Object

      0:56
    • 11. Render Settings

      2:42
    • 12. Photoshop Framing

      0:50
    • 13. Add light

      1:01
    • 14. Camera tags

      2:24
    • 15. Camera position

      1:39
    • 16. Render settings

      3:09
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About This Class

Welcome back, everyone! In this class, I will guide you through the making of an inflated Poster with C4D. We will explore the sculpting tools in C4d as well our first camera movement around our object!

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Morgane BWK

Visul artist

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Transcripts

1. Intro class: Hello everyone and welcome to this tutorial. So today I'm going to teach you how you can use for the shop to realize a bolster quite easily and quickly, and how you can use this image and engraving and cinema 4D. So you can have a sort of more texturize poster at the end. Okay, great. So in this tour, as I said, we're going to start by using Photoshop and then we'll move to Cinema 4D. Okay, sweet. Let's get started. 2. Poster photoshop: Okay, So when you arrive in Photoshop, we will create a new document. So what I do here is that I select an A4 document with 300 pixels per inch so we can make sure it has enough quality. Once we're in Photoshop right now we're going to use some text. Okay, so right now I'm using the dipole graphy time New Romans. We've 60 points because I actually want something that is quite big. What we're gonna do here is we're gonna write the word, text or informations, whatever you would want to be in your poster, but also whatever word you want to use. So here I feel like being a bit playful with class we're doing so I'm going to write something like to extract. And then I'm gonna create also by clicking again on the small text. Now this sentence with the stem maybe smaller, 45. Then I'm going to write, so do you hide? And then I'm going to write it, and then I'm going to write informations. Ok. This part of the text, I'm going to add an image to the left here. Exactly. Okay. So now I have this nice, it has some overall, quite a good presence already know our page. But what I want to add is a tiny bit more of brush drawing. So I'm going to go to my brush settings here. Select the size which is quite thick. First thing you have to do is click on this image. And when they asked you, this type of layer must be rasterized before proceeding and it takes will no longer be editable. I accept. So it means that I only go for this stage when I'm done with the text. So it's a yes, great. And then you see my brush appear. Okay, so in the setting of my brush, while we have the hardness, the size, maybe I want something that is soft, round pressure, opacity. I don't want something that is too dense. So let's take something like this exactly. Okay, so once we have this, we can now start drawing something on my image and see what happened. So right now I'm just drawing something that I'm not even sure what it is, but I'm trying to be played football. You can basically try, you can control that to go back. So feel free to play. I'm also going to look a bit around with what I think would be interesting. You can basically just change the size of the brush and the density so you can in the end find what the perfect penalties for you. I think now I'm just going to go for something quite abstract like this. But if you can look, I can then go with ten year purchases here. And then here it gets something that I can have more information to. Yeah. Okay. So let's say, I'm happy with this image. Feel free to be playful. Feel free to actually get around, play more. Use different brushes size just to see what feels good, what feels right. You can also feel the image as much as you want. Interests. You seem to play with the, I would say, composition of the image and just see what's, you know, what's missing. Where I feel like here we have something had been missing. Soldiers had something like this here. Yeah. Like pace. Okay. So it 3. Invert Poster: Okay, so now we have our image. What we're going to do is that we're going to take all of the layers. So I'm going to press Shift, Shift and select all of them. Okay? And then I'm going to press Control E and then make them one layer. And they're going to go to my adjustments. And I'm going to do insert. A new needs to be inverted because in cinema 4 D, it's only the white that is going to be able to be read by the software. So this is kind of like the main reason why. 4. Photoshop Gradient: Okay, We now have our first file. We have our text apples, True? What I want to create also now is a great chance that you're going to use later for the texture of our poster. Somebody with a degree in here. And here I already selected two colors, which are some kind of quite clear green and a clear blue. You can feel free to play around, choose whatever, but I like the settings. So see whenever you move them around, you have different renters. Okay? So let's create our gradient. You click on the left of your mouth and then you drag it like this. So then we have a great. 5. Save Both Documents: Okay, We aren't two files here now, so I'm gonna go to File export as a JPEG quality. We want some kind of great quality. And then we're going to go to our Export button. Export. We're going to say it to desktop and I'm going to write extract to save grades and then also save our gradient. Gradient. Perfect, Okay, So once you have your first bolster and your first gradient, we can move to the next stage to Cinema 4D. 6. Create the body C4d: Okay. So we now are in Cinema 4D. I just haven't you've seen in case you're not sure how this is supposed to look like. New project. The same thing habits basically. So what we wanna do here is create something that somehow is similar to a poster. So what we're gonna do is we're gonna like a liner software cube like this by moving around it to these tools. And then we're going to create something by scaling it that somehow is similar to the scale of that poster we would like. So this is quite an A3 slashed A4 dimension. But if we look at the size on it, on the back, it's too, too wide. So let's drag this down. And then we can have something that has some texture but it's not too thick. Okay, great. So now we have what is going to be used, the main object to be used for the poster. And it's also going to be on that object that the poster is going to be sculpted. So attitude, play around a bit. I think maybe it means to be a tiny bit longer. Yeah, that looks good. Okay. Once we have these, we also have to make sure that our cube f in a segment to be worked on. So I'm going to put 15, 15, and 15. You're going to see later that this is useful because when we sculpt, we have to use subdivision. And so division will work better and the texture will look nicer if it's already quite some segment. 7. Sculpt with Stencil: Now we're going to do is I'm going to move the layout to start to sculpt. Okay? This is what the interface of sculpting look like. You have to go back to object to see what actually you can do. I will select the Cube. You cannot do anything in the sculpting asthma. You haven't made your uptake editable. So the first thing we're going to do is to objects. Once the object is made editable, we're going to add subdivision surface so we can make sure that we can actually slept on it. So once you start, you can see the object starts changing shape. So now we have level 0, but the polygon count is already a bit up. So we're going to add more and we're going to get to at least four, I would say five. So you basically click five times and then, yeah, exactly. And then your object is already differently defined but is ready to be sculpt with. Okay, So once I have this, I'm going to go to inflates. And from inflate, I'm going to go on the stencil option. While you can see right now, Cinema 4D is still creating some polygons. Great. Once a muffled is done creating the polygon, I'm going go to stencil and use stem cell. I'm going to drag this here so you can see more what happens. Basically stem cell. It's going to enable you to choose an image from an, extract what's negative from this image. And then you will be able to press it on this object. So k, So for example, if we use tensile, then we have to choose what image you want to use, right? So we go here, and then we're going to choose our image, which is here. Okay? I chose my image and IFFIm was fine, it should appear, should appear, and you can see it, but it's way too big, so we have to scale the image down. Okay? Now we scale it to the side of our objects more or less. You can also do so by moving the object around. And there we go, we have something that is already a tiny bit too big, but if we scaled like this, it should work. Okay. 8. Stencil and brush: So now let's see what happens. If I go to the setting of my inflates. I have the size and the pressure of my brush. Let's put the size to 45 and keep the pressure to 30. Great, so now you can see it's already quite a big brush, right? Let's click with our mouse and see what happened. Okay, So as you can see, it works really fine. And we've made enough polygons and enough subdivision surface to make sure that everything comes out nicely. Because I was gonna do is I'm going to follow the traces of my initial drawing and change the pressure, the object. Okay, great. When it comes to the text, it can always be a bit more tricky because we start having the remaining of what's underlaid. Okay? Right. I'm going to show you how to correct that later. Okay. Once we're quite happy with how this sculpting came out. And I'm actually quite surprisingly happy about this. And then go back to our stencil and then we're going to remove it, okay? If we move it now we can see our object without the stencil. And I'm going to do here is I'm going to go to erase. And I'm going to try to remove. And we've tiny less pressure. The hard part that I just created. Of course you don't have to do that. It very much depends. It's also quite dedicate to do. But for this information and for this video is specifically, I'm just trying to show you a bit to what are the tools you can use to make it even more detailed. Okay, great. We now have had objects. We gotta go back to standard. 9. Add Gradient as Material: Once we're back to our standard load, we're going to create a new default material. We're going to click on this different material, go to color, and then in color we're going to select our gradient. Great. We also got to have some reflectance to our gradient by clicking on type dg, dx and then adjusting some of the settings. So it actually has reflection, roughness, 11 percent, refrigerant string, 22 percent. Great. Now we're going to drag this gradient to our poster. Yeah, exactly. And now you can see already that it has quite some interesting textures. If we click to the quick render rhino and see what happened, might take some time, but you're going to see quite quickly what is there. Yeah. Okay. So I fill already quite satisfied and happy with this. But what we're going to try to create here is try to see how we can try to make them nice, nice light come around these objects. So we're going to create a sky here, and we're also going to create a light. So when you want to create a light, if you click longer enough on the light, you're going to see that you can bring an area light. What an area light is, is a light that is slightly bigger that you can play around with. And that is a sort of a bigger spectrum of alights than what you would initially use. So here I'm going to play around with these slides by moving it, making it more distance, maybe a bit more higher. Yeah, exactly. So I can just move it around and tried to figure out actually, what's the type of reflection I would want to use objects. 10. Add light Object: Okay, we've got to remove this guy here because we quite like you don't like it this time. We're just mainly going to use it perhaps later if we wouldn't want to use an Azure AI studio. But I think today we're just going to work with the lights here. Okay. So maybe I'm also going to have another area light somewhere a tiny bit more around, fair. And then also rotated a bit like this. Okay, so my object is very enlightened right now. And you can see mainly because I have chosen to use two area lights, you have to be careful not to use too many of them, but also to them too close to each other. Otherwise your image is going to be over lighted. 11. Render Settings: Okay, If we go to our first render setting and we actually go to physical and read the effect. So we can have a more realistic approach by adding engine, ambient occlusion and global illumination. Let us now look at what happens when we start the render. It is now preparing. Let's just wait to see what happened. Okay, great. So you can see already this image is not very well-defined, so we would have to change settings, but if there's already a nice object that we have here, so let's go back to our setting. And then we're gonna go to output. You're going to tell the number of pixel to 2000 and the pixel per inch to 400 pixels per inch. Okay, so this is going to enable us to have a nicer resolution. We're gonna go back here, make sure it's quite well centered. We can also go closer because we won't have, as he tells us, we can then click Render again. Okay, so it starts rendering right now, as you can see, because of the change of the render of the setting, we have already something which is way nicer to the eye and way, way by they're looking. I'm just going to wait for it to finally export. And then I'm going to show you how you can take that image and bring it back to the shop, to them play even around what you want to do. So I'm going to go two types, gel image and exported as a JPEG. Okay, let's do this. Gonna call this document final 100. Okay, it is now saved. I'm going to drag it back to Photoshop just to, just to reframe it a bit, getaway with these dark on the back and have a final image, basically the poster that I wanted, but textualized. 12. Photoshop Framing: Okay, once we're back in for the shuffle, going to open, go to our desktop. Go to final 101 is open. What we're going to do is that we are going to reframe it, such as this. So we got to suppress the bag in the back like this, and then click like this. Okay, so then we have something that you could add more information to one for the shop or less or more in Cinema 4D. But we have something that, as explained earlier, as being a poster initially made in Photoshop and then extruded in Cinema 4D. I hope you're happy about this project and I see you with the next video. 13. Add light: Because we're still right now presented with this project. What I want to show you is also how you can turn around with the camera around this object. So what we're gonna do first is we're going to add a light on the other side because as you can see, there's no light. And if we turn around the object, we might want to have some kind of, ooh, let me do this again. And we want to have some kind of overview of what the project is like overall. Okay, so we're going to drag this slide here just to make sure that the bag also has a light. Hits at Pitt further away, maybe a bit more on the side like this, and then we're going to duplicate it. So Command C, Command V and move it a bit around. So the other side also is a night, so you can see okay. Yes. Like this. So quite likely with all these lights are object is going to be extremely shiny. That's probably what we want to go forth and that's fine. 14. Camera tags: Are we going to do here to create our first animation that we're going to add on camera for clique long. We're going to add a target camera. Okay? So direct camera is a camera that is going to have a specific target of object. To do that, we're going to take on these small target expression here. And under target object, we're going to click here and select the cube, because that's a cubed we want the camera to look at, right? So right now, whenever we will place our camera around in space, it will recover object. If you click on the small just here. This is what your camera will always see. So when this is on, it's the view of the camera. When this is out, this is just the view of your viewport. Let's go back here. Okay, so this is the view of our camera. What we want is we want the camera to move around the object. So should we saw, we will create a spline around the object. So we're gonna go to Spline Pen and press down to recycle. Okay? So as it gets you right now are circled is really not in the same integrate rotation, so we're going to move it around. So it actually exist at the 90 percent agree like this around the object. We're also going to scale it a bit bigger like this. And now, if you move around, you can see that spline, which is the orange one, exist for an object. Let's go back in front of our objects. Well, we want to do now is to make sure that the camera follow the spline. And to do that, we're going to right-click and go to animation tag align to spline. The align to spline should be next to the camera object, right? When we kick to it, you can see there's a spline path which is about to be filled with click here, and we add the circle as this blind path. Great. So now wherever our camera will move and you can see it right now, it's quite close to our objects, which is why we're going to make it. So by clicking on the circle and dragged me into scale, because our camera is locked to it. If I do this, then the cameras, so move right because the cycle is becoming bigger until the camera is further away. 15. Camera position: Okay, so our camera is now aligned to this plane. What we wanna do here right now is we want the camera to move around 180. To do this, we're going to go to our spline path. And you can see here there's a position targets. To do that, we're going to make sure that the first frame of our animation, which you can see here is on 0. We're going to press the position. And by clicking it and it becoming red, we are creating the keyframe. A keyframe is a key memory that's going to remember where the animation is and what it does at a specific given time. So if our 0 is here and that we now want this to move around, we have to drive our small keyframe to the last frame of animation. And then push this to one hundred and eighty, one hundred actually, sorry. Once this is there, we have to click another time here for the animation to remember the small keyframe. Now, if we look at our animation, if we drag this to the bottom, to the 0 and we press Play, we can see what's actually going to happen. Okay. So it's not so bad so far, so I will try it there. I think I would just kinda want the cycle to be even bigger so the camera can be a bit further away, exactly like this. As base again. 16. Render settings: Okay, that seems good to me. To run or your first animation, you have to make sure that you go to your safe. And perhaps we don't want it to be so big because then it's going to be very long to render. So I'm going to change to one hundred, ten hundred and five hundred and resolution to 300. What is quite important for you to do? You only able to output on the dirt frame range. You do all frames. If you don't do all frames, it will never rendered animation. All frames enables your software to understand that the frame 0 to 90 I you can see here, are going to be rendered and then can be collected as an animation. Okay, great. Now if you go to render, what you will see happening is that now you have the timeline that is also present. The timeline is going to inform you about all the different keyframe that are being rendered. Right now, my first image is being rendered. You might take time depending on the computer you're using, feel free to add less resolution or less pixel per inch. But in general, rendering an animation that has light and also reflectance make it quite long. So I would suggest that once you figure out the previous steps and now you're rendering an animation, you now grab a drink or do something else. And then we can come back altogether and figure out what the final animation looks like. To make sure that you're rendering will not be as long as three hours. I would say there's some settings here that you can work on to make it a bit less heavy. So the ray depth, we're going to put it on 15 to free sufficient depths to four and the shadow depth to five. And get these will help having a render that is tiny bit faster. On this. Yes, It's duct. Okay, So we now have our animation that has been exported. As you can see, we have enough refraction and the object is nicely moving. Okay, great. So this took quite some time. So I would advise that when you render, you can render overnight. This took 39 minutes to render. I'll just do something else where you can. I'm going to save this image as an animation and the formats as an mp4, okay, to our desktop and we're going to call it an animation. Save. Then it's going to export it. And then if we go to our desktop and we search for it, I'm going to open it. And there you go. You have your small animation that you can play on loop again and again and again, and that you can integrate to any other videos or any other project. Okay. Thank you for looking at this the turtle and see very soon. Bye bye.