Learn Cinema 4D: Low Poly Wolf | Jonathan Lam | Skillshare

Learn Cinema 4D: Low Poly Wolf

Jonathan Lam, Graphic Designer | Game Artist

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14 Lessons (1h 5m)
    • 1. 01 - Introduction

      1:17
    • 2. 02 - Collecting Reference Images

      0:58
    • 3. 03 - Cinema 4D Overview

      2:13
    • 4. 04 - Import Images

      1:27
    • 5. 05 - Create the Wolf Body

      8:20
    • 6. 06 - Create the Wolf Tail

      4:30
    • 7. 07 - Create the Wolf Head

      6:17
    • 8. 08 - Create the Wolf Ears & Neck

      9:20
    • 9. 09 - Create the Wolf Legs

      11:37
    • 10. 10 - Create the Wolf Paws

      6:44
    • 11. 11 - Adding Background

      3:56
    • 12. 12 - Adding Light

      5:08
    • 13. 13 - Render Settings

      1:37
    • 14. 14 - Conclusion

      1:11

About This Class

Learn the basics of Cinema 4D by creating a Low Poly Wolf. This class is perfect for designers, illustrators and anyone else who would like to learn a bit of 3D modelling to add to their designs. Topics will include some basic 3D modelling techniques and how to use lighting to improve the overall look of the illustration. The class is for beginners - intermediate. 

Transcripts

1. 01 - Introduction: Hey, guys, My name is Jonathan Lamb. I'm an artist at Future Gains of London, a ubi soft studio in this class. We're going to then a step by step process of how to create an abstract look party, both by modeling it in Cinema 40. We'll start with a basic three D shape, then take you through all the tools and skills necessary for the project. Well, then, take a look at how to render your model so you can save it. It's an image. Or just take it into programs like Adobe Photo Shop. We can add some final touches to make your illustration really stand out. Some of the major topics that will be discussing in this class will include basic three D modelling techniques. Importing reference images, how to add lighting to the scene on basic rendering techniques. By the end of the training, you will have learned how to create an abstract low party wolf that you can use in your own illustrations or video game projects. This class is perfect for designers, illustrators and anyone else who'd like to learn a little bit off three d modeling toe add to their designs. So sign in more sign up and let's get started 2. 02 - Collecting Reference Images: Hey, guys! And welcome to the first lesson off the low Polly Wolf class. So before we even go into cinema four D, the first thing we're going to do is to gather some reference images to help us model the both. So to do that, we're hoping to Google, type in wolf photos and just see what comes up. So just clicking into images here and you can see there's quite a wide variety of war photos and wolf poses. But I'm really looking for something like this where you can see the wolf sideways on also the wolf in a front view. So just scroll down Google images and try and find those two views a side view on a front view, and then save those images on your desktop and we'll see you in the next listen 3. 03 - Cinema 4D Overview: so here will do a quick overview off cinema 40 on some of the moon features will be using in the class. So if we click on this blue que but the top here will create a cube, click on the arrows to move along the Y axis here, or the X axis or the Z axis. You can also sort of click on these arrows here, toe combined to excesses together on sorts of moving along and in the that particular space like that. So that's how you use the move tool and how you create a cube. I will just click on the cube here and delete that. So if you click and hold the queue button here, you've got a whole bunch of objects which you can create in the space. So things like cones, cylinders, fears. We just click on the plane here just to show you how you we can manipulate thes thes objects so it can change the width. We can change the heights on. You'll see it change automatically There. We can change however many segments that we want inside the plane, so to zoom in. And then I used the mouse wheel on like so and then to pan across you, hold down the bulky and click and drag the middle mouse button and then to rotates around you. Hold the Elke and click and drag the mouse button like so if you click, the middle mouse button for windows will appear like this and you can see different views of the space top sides left and right on. Uh, you're over you like So So that's it for now, in the next listen will go through how to import your images into cinema for the so that we can start modeling your low Polly wolf. See you then. 4. 04 - Import Images: Hey, guys. And welcome back to the low Polly Wolf class and this. Listen, I'll take you through how to import your found images from Google so that we can use them in cinema 40. So it starts off in the perspective. You I'm going to click on the middle mouse button so they will bring up all four views. Click on the right view. It's now that we have the right view display to make sure that we have attributes here. I can click on modes as fact. Actually, I'm gonna make sure that the back is selected here. Then I'm going to select my image, which is on the desktop, and here you'll find where you're your images are. I know that I said that we should have the front view as well, but for this particular course, we're just going to use the side view to model a ball because it's quite a an easy silhouettes to model from. So let's just click on the side view, open it up and they will appear in our rights, our right view, so that we can use it as a reference image for modeling. So now that we know how to imports are images into cinema four D will now go into the next lesson where we'll learn how to actually model, although Polly Wolf starting with the body. See you guys, then. 5. 05 - Create the Wolf Body: Hey, guys. And welcome back to the low Polly Wolf class and this. Listen, I'll take you through how to use your reference image on start modeling your wolf. So the first thing that we're going to do here is just going toe hop into perspective, you to show you the technique that will be using going to click on this green cube here on Click Loft. Then we're going to click on the phone Turk and delete it. And now I'm going to go here and click on inside. So this will show you a sort of hexagon shape that we're going to be using. Click on the inside on Drag it into loft. It's now the hex guns sort of filled in here. We can hop onto the move tool on day shift or control. Click control. Click, hold and drag, and you can sort of drag the hexagon. Teoh make a three D shape you cannot serve. Use the scale tool here, clicking on each of these different colored access, ease Teoh to change him and then moved back on to the move tool kicking drug again. So now we'll hop back into our right view and then we're going. Teoh, go into mode view settings? No, you can't quite see view settings there. But once you go to view settings, make sure you're in back and you can change the transparency here. Like so to about 70% and select loft. Scale it down here they'll be probably can't see the the shape. It's just the black line of the moon. But we're going to start at the end of the wolf and I'm going. Teoh, hold down control, Click on drag the inside. So duplicates of the yes can. I don't know what happened there, sir. That's select the inside. Actually. Select the inside and then you can click or control. Click and drag, uh, the shape. Let's try it again, hoping back in. So right view. Hold control, Select the inside first hole control, click and drag. And there you go. We can now use this scale tool. Scale it down a little bit, used to move to, and it's just try and align the shapers as much as possible to our reference image. You can do the same with the other end inside the one at the beginning. It's just trying to find a wait Teoh to fit that silhouette, selecting the latest inside. You can even use the rotation tool it's irritates the inside and then back on this scale tool again. So just using a mixture of those three tools is how we're going thio more global, so control, clicking, control, clicking and dragging, then moving it with moved to and scaling it with scale tool. So I'm just trying toe create that curve in the back in the belly. So using the rotation tool they take towards rotated back up just looking at the belly there, seeing if it it fits the shape and then just ending it just where the leg on the shoulder is. So just think it with a scale tool. Click and drag that of control. Make sure that you hold control down move so we can create the parts of the neck here. Tate, as we're moving up the neck scare up smooth, has quite a large nick. Now we're going to Oops. We're going to make, uh, this space here ready for modeling the head rotate. It's and then just using the move tool on the scale tool. So once you get the hang of using those three tools. Getting your head around modeling becomes a lot easier. The three main tools are the ones that you see at the top of the screen there, which is the move tool, the scale tool on the rotated toe. And you just want to use those three. Those three tours toe to kind of shape your wolf as closely as possible. Now remember, this is still a low pally, both so it doesn't have to be 100% accurate. Just the general shape of the silhouette, which is what I'm trying to follow here. We'll do so now that you can see we're just hopping back into perspective moat, and you can kind of see how the body is now taking shape. So I've got neck. He sort of the curve of the back in the curve of the stomach on then, sort of where the hips are on the shoulders are going to be on where the tail end is. It's going to be a swell. You can see that the model is still kind of curvy, so just hit mode here. Andi, we're going to go into objects, then go to basic no quite the the option. I'm looking for going back into objects. Uh, let's see. It is not what I'm looking for. Just sigh so supreme on a select loft. So make sure you've got lost selected, and then we're going Teoh, go. So you can see here that it's curved So if we click linear interpolation and you can see it's sort of mix the silhouette jagged again. So we're going Teoh, make the mesh Subdivision 15 may mesh Subdivision V into five on and this eyesore palm subdivision into 10 infects 15 5 10 And then it will have that sort of low Polly Jaggi on abstract look that we're we're looking for. So that's it for this. Listen, in the next lesson will go through using the same techniques that we've just learnt on applying that into creating the tail for the wolf. So you guys, then 6. 06 - Create the Wolf Tail: Hey, guys. And welcome back to the low Polly Wolf class and this lesson we'll take you through how to model the tail. So now that we've got our body just gonna name that body, we're going to collapse that, and we're going to do the same thing again. Select loft, delete the phone tag and then go to the pen. Hear, clicking hold and select inside on. Drag it underneath Loft. It's now double click and rename that tail. So just gonna rotate this'll, uh, this hexagon and rotate it 90 degrees like So now I'm going to scale it down and then using the move tool, I'm just going to move it in the right position, Skated down here. So with this tale, just looking at the the reference image that I have here the Taylors sort of pointed down on It's not quite as, uh as exciting or interesting for for the model, in my opinion. So I'm just going Teoh, use that as a basic reference for the rest of the model. I'm gonna try and model the tails so that it's sort of curving upwards. So again, using the the same technique has performed rotating the first and slide inside so that it sort of roughly matches the entry point there. And then I'm going Teoh play about with the move, Tool said. They saw curves down a little bit. First I'm going to rotate it. And then I used the move to again, holding control on holding control first and then clicking and dragging up. Now you'll notice. I don't think I mentioned this before, but when you hold control your mouse cursor sorts of changes, it's, uh, changes the way it looks. So you can see those 22 squares there. So that's That's how you know that you're about to duplicate your inside and you're about to create another. Another polygon there. So you can see now that I'm using the move tool, the rotation tool on the scale tool as usual, exactly the same as what we did with the body. And I'm just sort of shaping a nice bushy tail silhouettes here. So it sort of becomes it sort of starts off small, becomes big in the middle and then tapers out quite quickly towards the end. And that's we hot back into our perspective mode. Andi, do you accept the same what we did before to make sure that Taylor's selected tick linear interpolation and I'm going to put the mesh subdivisions down. So it looks right. So last time we had 15. Go with 10 on, then to hear looks about looks about right. Going back into ah writes view, I'm just going to move the tail so that it sits inside the body, said it sort of becomes one one model so that they're connected. So there you go. So now that we've created are low ponytail. We're going to move on to the next class where we'll then to model the head of the wolf. So you guys, then? 7. 07 - Create the Wolf Head: Hey, guys. And welcome back to the low Polly Wolf course. So now that we've got our tail and body, we're going to learn how to model the head. So same thing again. Get our loft, delete the phone tag on. Then we're going to go to the pen. Well, some did not subdivision surface and go to the pen, select inside and drag the inside into the loft. So I'm going to rotate the inside again. 90 degrees. Good on. I'm going to use the move tool to move the insight so that it matches where the head should be. So it's just scaling it down Roughly. It's around how big the beginning of the head is going to be. So where the back of their heads connects with neck, I'm going to rotate the insights that it roughly matches thes same sorts of angle as the neck. And then I'm going to select the insides, scaling it down again and then moving it into roughly into place so irritating just a bit there so that it matches the the the angle of the neck. I'm just gonna move it inside, so I'm gonna start the head inside in that care and using control on track like we have done before to start modeling the shape roughly the silhouette of the wolf's head. So I'm just moving it into place, selecting the first insight and then moving at just hire a little bit because it was a little bit too low before. Now with this with this head, I'm sort of imagining the, uh, the neck because you can see here, the neck of the wolf is is quite Bush's quite furry. So in order to represent that on this low Polly Wolf going, Teoh create a few sort of, uh, for bits to represent the the pushiness of off the neck. Which is why here on making the start of the head slightly bigger at the beginning now, just using the control Andi move tool in this scale tool to scale it down and sort of roughly following the the shape of the wolf's head here, just using this scale tool again, making sure linear in circulation is on. Remember Teoh. To do that, you need to select the loft, not the inside, scathing it, rotating it, moving the the inside now for the head because it's quite a recognizable and detailed part of the wolf. You may find that you using more insights than, say, with the tail or with the body. So we need to make sure that the wolf silhouette is very recognizable, so you can see that each of these segments for the head is significantly smaller than the segments used for the body, for example, so here we're just making the the part of the face where you'll recognized the We'll see this start knows where the eyes are going to be now with knows, I'm going to push out a little bit more, rotated a bit and then scale it down. So you want to be careful not to make the nose too long. I just pushed it out here so that it's, uh, said it's recognizable. Assists to the wet. You can see with the with the wolf's head. In the our reference image, the wolf said it's sort of slightly slightly tilted to the side, which makes them those a little bit smaller. So I've made the nose here a little bit longer because it's straits on silhouette of the side. I've curved the nose here a little bit, so that it's just not a straight cut. So just hopping into perspective, you to see what it looks like, and it's starting to look quite good. You could recognize that That's the head of the wolf. All that's missing now is some is just selecting loft here, double clicking on, then renaming heads. And now I'm going to see, perhaps move, move the subdivisions, the mesh subdivisions down a bit, making sure it's not down to go in the same. The other two. There we have it, Wolf's heads. So you can see now how using these techniques are wolf. It's finally starting to take shape, even with just the body, the tail on the head. So when the next lesson, we're going to complete the head by creating some ears and the furs on the neck like we discussed at the beginning of this class. So you guys, then 8. 08 - Create the Wolf Ears & Neck: Hey, guys. And welcome back to the locally wolf class in this lesson, we're going to go through how to create the ears on the neck. The for nick off our hopefully wolf. So first thing we're going to do is we're going to go up to create the shapes where the blue Cuba's on select pyramid. Once you've selected the pyramids, I'm just going to use the scale tour here to scale it roughly down Teoh the size of what? I'd like the ear to be so in our right view, just using the rotation sore here to rotate it. So that's roughly around the right sort of angle for the wolf here and now, As we go into our perspective, you you'll see that the pyramid is sitting right on top of our wolf's head right in the middle, which isn't right. So I'm going to use the move tool here. Just gonna work in tow in perspective mode for a bit on using the move tool on the perspective that sorry and the rotation tool to rotate the pyramid around the head and then using the move tour here just selecting the green arrow to try and slot it into into the wolf's head. That's a little bit short at the moment, so I'm just gonna gonna move it to the side of it, trying to get the base of the pyramid. It's a line with, um, just the the polygons of the head here so that there's no that's so it's fully connected and it doesn't sort of stick out as much as it does at the moment. So from here I'm going to click make eligible, which is the top left button that you saw me click there, and I'm going to click on the Verge Assi Square. You can see it's being highlighted on the left side of the screen. I'm just going to select the top verte, see off the pyramids and drag it up to make the the point of the air to make the point C. Now I'm going to select the bottom two bases off the at the bottom two verses here, like so just holding control to make sure both of them are selected. I'm trying Teoh to make the pyramids this less fat, So actually, if I select the polygon tour here instead of faces, just push it back a little bit, then use the rotation. So it's rotated the public on a little bit as well. I just said that matches up with the line that you see on the head there, just moving it up. So it's less of a fat pyramid on. More like I will fear shape so you can use all three of those tours here. Verte sees that polygon on the sides. I'm just going to duplicate the pyramids the way that you duplicate is by clicking on holding control. So exactly like how we creates it. The the insides just hope, control, click and drag the pyramid so that you've duplicated it. And now I'm just going to rotate in the second permits. So it's, um so that we're working on this site. In fact, that's not quite working, is it? Um, let's try and used to move to for a second. Just gonna move it to the other side. That's just going to go into my top view here. It's going such see if I can move the second year to the right position. Let's see what what sort of We've got a symmetry till here. So if we put the first pyramid inside and drag it inside the symmetry. You'll see that it's duplicated the first there pretty much perfectly. So we can delete the second pyramid that we duplicated. And now we've got two years for a wolf, just sort of going round it to see if it looks correct going back into ah, right view. Yeah, looks, I'm pretty happy with that. We can minimize the symmetry down, and now what we're going to do is create the for so going back into, uh, left to Leith, I just looked yet the phone tags again, going back into the this inside. Put the inside inside the left, irritating inside as we did previously. 90 degrees, like so on. Now I'm just going to rotate it so that it's roughly the same angle. That's the neck and the head scared it down again on Now I'm going, Teoh. Just think about how I'm going to create this, the for ruffles. So I'm just control holding on clicking. Then I'm just going Teoh, move it roughly into the place I want Teoh have I want the wolf to have a feeling where the top off the neck is quite furry. So if embedded the front end of the inside inside the neck and in the back end of the inside. So that's sort of flares out a little bit, just sort of into emulating that for feel. It's going into perspective modes. Then you're in circulation on reducing the mesh subdivisions. I think so on it's getting there, but it's not quite right. You can see how the the inside at the bottom there is sort of jutting out, and it doesn't doesn't quite look like for it's not. It's not a zoo, Bigas. It should be. So just scaling everything up. You can see straight way just by scaling it. It's starting Teoh add volume to the neck, so irritating it down a little bit. I think this side needs to scale down just looking around. This inside needs to scale up a little bit more on starting Thio, more like the shape that I'm going for going back into ah right view. Doing it to be too big just rotates a little bit, scared the town a little bit, and you can stop sort of see what I'm going for here. So just renaming this loft in fact duplicating the left. I'm going to move the second loft. Whoops. So using the move, tour moved the second left further down the neck on again, just using the selecting the insides on using the move tool to try and create the ruffles of the for. So as this is closer to the to the body, this 2nd 1 I need to make it a little bit bigger as there's more for further down the neck , moving it up. Onda. Yes, it's getting there so you can see how I'm experimenting with loft on the insides to create the ruffles of for, So I'm just going to stop it to on the back of the neck for now. But with your own models, you can experiment with three or even more. The more you have the furrier, your wilful appear. So we're just going to stop the lesson here in the next lesson that will go through how to create the legs of the wolf using the same techniques. So you guys there 9. 09 - Create the Wolf Legs: Hey, guys on welcome back to the local Seawolf class. In this lesson, we're going to go through how to create the legs of our wolf. So just spinning round are what we have of our wolf model here. It's really starting to take shape. So I'm just hoping back into the right view here, going to a loft, deleting the phone text as we have done before on renaming that leg. So just double click and rename it legs, creating the inside, dragging it into the legs. And now this time I'm going to rotate it. The inside nice degrees towards us. Andi Now just creating, um irritating. It's again just thinking about how to align the Lake three hip of the lake. Now I'm going to use to move Tool. Just put that beginning off the hip and then creating the fi, like so so using move tool again, scaling it up so you can see that the hip and thighs quite large. And now I'm just going to retake the second inside as it goes down towards the bee hind legs holding, holding, control, click and drag. It takes to get a little bit and skating it right down. So just trying to follow the basic direction on the shape of the leg since you quickening interpellation here, I'm going. Teoh, go back to the leg clicking the latest inside on sort of following How the bone structure of Legos So you can see here how it curves inwards and then it goes outwards again. It's sort of creating that parts of the lake, skating it down, and you have roughly the shape the rough shape off the back leg off our balls, zooming out to see what it looks like. I'm fairly happy with with how that's looking at the moment, going back into our perspective views. So have a quick look at what it looks like. Now you can see here that because we rotated the first inside towards us, it looks kind of strange at the top of the five, there at the top, where the hip should be, where is connected. So, first of all groups, First of all, we're going to select the whole leg and move it towards the rights of the right of the wolf . I'm going to select the first insulin air inside and rotate it towards the body off the wolf like so. So now you can sort of see that the first inside is how we're going to connect the hip off the leg on, join it to the body of the wolf there, just moving the first inside. You're going to do the same with this second inside, and she's going to rotate just a little bit. Not as much of the 1st 1 just a little bit, so that it's not so much of a harsh rotational change. And you can also do the same with the with the other insides as well. But which is going to see how how this connects to the to the body of the wolf? So just moving the first inside, I think the first inside is probably the most important, important one, So I need to rotate it this way a little bit more. You can see the where the leg joins the hip. It's slightly smaller than the rest of the body, so you kind of have toe to judge how the first and so inside connects with it just going Teoh scared of it. So at this point, I'm just using my eye to see how it looks with the rest of the model. So just just like what we did with the tail, you don't have to follow the the reference image 100% you can if you want. But this this point, we're just going to use our our right to judge how it looks just getting to the second inside, looking at from behind the wolf to see if the legs look correct from away all angles. Not just from the right, as we have here, so I'm just moving back to the to the rights view, said Aiken. I can see if it's if the silhouette matches are our reference image. I'm pretty happy with that the moment. So just as we have done with the rest of the model, just going into our object, making sure legs selected on just scaling down the subdivisions, said, It's properly low Polly. So we can see that look. It's kind of taking shape. Find a happy with that you can experiment with, like, a little bit more, so just moving it in slightly or moving it out so you can see I'm moving it in a little bit . As I thought the the leg was a bit too far out, just constantly switching back and forth, rotating around the wolf. And as we did with the ISS, we're creating a symmetry. And then we're going to drag the lake into the symmetry, like so and automatically, it should create thes second leg. It's now we have to back legs for a wolf, go back and sued the right view to see what, how it looks like in our compared to our reference material, creating new loft to meet in the phone tag and then going on creating another inside again , putting the inside into the loft on rotating the inside towards us again by about 90 degrees. So and scaling it down, I'm moving into place. So this time we're going to be creating the front legs off the wolf. So using our reference image here, you can see where the front legs of the wolf, uh, where it sort of begins, where the shoulders are. So I'm just trying toe align the inside so it's exactly, or roughly where the shoulders of the war far exactly like what we did with the rest of the The rest of the model was just starting, starting, choosing a starting point and then just muddling outs. Um, after that, so just sort of using the rotation told again and scaling using the rotation scale tool on the move tool clicking, linear interpolation This point, I'm just skating down the subdivisions as well. Sure, you select the right inside, scaling it right down so that it fits roughly the size off the wolf snake putting into place holding control, click and drag to create more insides on more polygons, you can see how the wolf's leg just like the back. That kind of starts off really big, where the shoulders are, where the hips are and then kind of tapers tapers down, becomes smaller and smaller and smaller as you go towards the foot. You can see here that their front legs are kind of above the back legs because of the ground, and so I'm just making it so the front necks are a little bit longer so that it meets it. So that matches the same Ah, same size, uh, as the back legs, because we're going to have a flat ground. We want them both to be about the same the same length so hoping back into our perspective , you moving into place. So that's not in the middle of our of our model. Just kind of looking when it looks like putting the subdivisions down, making sure that you've got the loft selected, I'm going to select the first inside, using the rotation saw irritated towards the body of the wolf in the same with second inside as well, just to make it so that, um, the irritation isn't quite harsh. It's not 90 degrees irritation and just moving the first inside inside the body of the wolf and kind of looking around the wolf to see what it looks like again just using your right to judge. Now here I've just selected all the insides apart from the shoulder. Now just select the shoulder on moving just the shoulder to look around and then looking around the wolf to see what it looks like. Great symmetry. Put the left inside the symmetry once you're happy. And there you have your hind legs on your front legs of the wolf so you can see how I'm experimenting. Left on the insides to create the legs. Thighs. Technique is very versatile, and it could be used to create all sorts of shapes and sizes so you can continue to experiment like what I've done here. Until you're happy with the way that your wolf looks on in the next listen will create the pause on finish off our low Polly Wolf. See you guys there. 10. 10 - Create the Wolf Paws: Hey, guys, welcome back to the low Polly Wolf class. So in this class, we're going to create the pores of our wolf. So just going up hear clicking on the Blue Cube. So I just used the cube as our base for creating the wolf's pores, just going to move it down and then using scale toward to scale a wall the way down to roughly about the size of what are poor is going to be. And then I'm going to just go around The wolf model hits to judge how big this cube should be. Clicking on the whites, the button at the top, right there to make the books visible. I'm just going to scale the box down here like this, and I write view, and this scaling down here is well and just roughly placing its where the poor should be. I'm just going to use the polygon polygon tour here. So the way that I'm using this is I'm clicking on the face. And then while the faces highlights it, you can click, control, click and drag the face so that you can extrude the polygon out here. I'm just going Teoh, move it up a bit and you can sort of manipulates each of the polygons in this way. So which everyone that you're clicking, you can move it out by using the move tool. You can rotate it here. I'm just using the sides tool. I'm just going to move this side, um, down a little bit. Like so. And now I'm just going to click on the polygon here. Whoops, skins clicking the polygon to move it to extrude it out to bet, to skate it down like so. So to extrude. You just have to click on the polar, gone on the control, click and drag. And then if you just want to move the polygon, you just click on the polygon and then just use the move tool like what I'm doing at the moment. I'm just getting the rough shape of the wolf's paws. It's just gonna be made out of three segments using this side, too, to move it down so we get slight angle on the heel on. Then we're going to move this up. So, looking at the right, you can see where the poor is going to be, how it's going to connect with the front leg. Now I'm just going to move this size down the bits so you can use the same. You can do the same thing with the verte sees tour this ball so you can hear the use the polygons verte sees or the sides like what I'm doing now and just sort of judge how you want to manipulate your shape. So just going into off our top view here, I'm going to move the whole pool. Eso just untouched. Selected tool. If he wants to move the whole poor, it's quickly double checking If I'm happy with shape and then click sides again toe un select. In fact, I'm just going to make the poor little bit wider, making sure the side selection tool, the selected clicking on all four size of off the poor, then using the scale tool to move out of it, moving around to see what it looks like scaling the hell up on Now that should be about ready. So just oops. Making sure you select the whole cube. Uh, yeah. So select the whole cube drug in so you can see there that you can't un select the tour. You have to select the whole shape, which is just below the make creditable button at the top left. Sen and I've connected the foot with the leg. You can still still used the polygon tool or the Virgin Sees Tool or the Sights Tour to manipulate the foot. I just deleted the Fung Tak So it's so that the foot looks faceted, has that sort low polly shape. Just double checking on a with views to see if it looks correct. And then, once you're happy with how the foot looks, you can select the foot on select symmetry and drag the foot into the symmetry, and it should duplicate that foot onto the other leg like so and then from there, or you need to do is just so you can you can see here when you manipulate the first foot also changes thes second foot as well, as long as it's underneath the symmetry. I think so. So I'm duplicating the symmetry here. So control Holley control, click and drag. And then I'm just dragging this symmetry both feet onto the back legs so that you have it. Now you've gone through all the different stages and steps to create your low Polly Wolf just using a fear. Simple techniques in the next lesson will go through how to create a background ready for you to render. So you guys there. 11. 11 - Adding Background: Hey, guys. And welcome back to the locally wolf class in this lesson, we're going to go through how to create a background so that we can have something ready to render. So the first thing I'm going to do is tidy this up. So I'm going to group all these elements together cyclic shift, click Old G and then now create a group. And I'm going to call this group Wolf. Now I'm going to click on the Blue Cube, creates a plane and wants to make this plain a little bit bigger. Tooth that warps 2000 just seem out here a little bit. 2000 2000. This will be our floor for the wolf to stand on, just going around to see what that looks like. That's making a little bit bigger. Let's try 4000 by 4000 and now I'm going Teoh selectable on. I'm going to bring it, Move it on top off the plane here like so So it looks like it's standing on something now. Okay, so once you're happy with the position of the wolf on the floor, go down here. Click creates on click on new material. Double click on the new material on We're going to go here in texture with the arrow is on We're going, Teoh, See if we confined Grady in, which is down here Double click on the radiant And here you can choose the different colors you want your grade in to be So in this case, uh, we're just going to click on choose a dark gray on second color, we're going to choose a full black so you can see the grading goes from grades of black. And then here you can choose the type of grading. So we're going to go for a circular. Greater the cath of that. I'm going to click and drag that radiant onto the plane like So once you've done that, let's go to So I'm just going to slip the plane on. Then I'm going to double click on the material here. Basic. Um, there. In fact, don't double click. Just click single, click on the material and then under projection. You want frontal and then left. Click on the plane and you want compositing, and then you want to click compositing background on, Then hold the cube shaped here. In fact, under the under here where you can see floor Mexican black that you want to click on background. I'm just gonna delete the Fung Tak from the plane and then clicking on the material here. I'm going to duplicate that material on click and drag it into our background. So once you click on render picture to viewer, you should see that pined our wolf. We have a nice gray circular Grady int. So that's it for this lesson in the next lesson will be going through how to create some lighting for the peace. So you guys there. 12. 12 - Adding Light: Hey, guys. And welcome back to the low Polly Wolf Course in this class will be going through how to create some lighting for your render. So at the moment will be looking at creating some lights just going to light. Click on the bulb there and you've created lights and you can manipulate the light the same where you can manipulate other objects in the scene. So I've made the light type in area shadows to area as well. That's in general settings and now, just making the incident intensity to 70 and then go into details on I Want the Outer Radius largest. I'm making that into 300 and then, using the rotation tool going to take the light nice degrees, like so struggling to get 90 degrees there. If you are struggling, you can just come over here on just click nights, degrees rotation and then click up like so now that we've got our top flights rotated 90 degrees here. So now that we've got top lights, we're going Teoh on. Just move it around the scene to see what sorts of lighting Um, that's what's so lighting that we get. Just get into details here and collect a selecting inverse square physically accurate in the fall off. And then I'm just going toe, make the radius slash decay. It's about nine hundreds, 978 and now samples are going to put 50. Then the visibility tab just going through a sample distance 50. I've been looking at shudder. Now we want the accuracy. So will be 1%. Minimum song equals three maximum samples. 3 50 Just looking at the scene here again from here. Just go into a quick rendered to see what we have on. You can see now how the lighting is affecting your wolf on the rest of the scene. So I'm just going to track the lights down. Can see how you can sort of manipulate the lighting to get the desire that desired effect that you want for your render. So I just, um, going through or the rest of the settings. General, I'm going. Teoh put the intensity to about 85 just to make it a little bit brighter testing and render again to see what it looks like. And from here, it's just about experimenting and moving the light around your scene to get the desired effect. So here I'm just making the outer radius a little bit bigger, said that envelopes mawr of the scene. So 150 and then just going back into Renta to see what it looks like. You can move the camera around. Teoh your perspective around because we haven't created a camera yet and just rendered Teoh your view. So from here, I'm just going to speed the video up a little bit. But it's all about just experimenting and moving the moving the light around, experimenting with the settings that I just showed you until you're happy with with your render so you can see here how I'm constantly just moving the moving the lights around, making it bigger, playing about with the intensity settings. You can even make a light of different color if you want to. Just sort of look at what sorts of settings are available to you on just messing around to see what gives you the best results. So once you're happy with the way it looks in your render, we're going to move on to the next lesson where we'll just briefly go over the best to render settings s so that when the you render your wolf, it looks the best that they can be. See you guys there. 13. 13 - Render Settings: Hey, guys. And welcome back to the low Polio, of course, in this class will be going through some render settings so that you can create the nicest possible picture for your low polly wolf. So first things first you click on the render settings here, goto output and then just sort of select what width and height you want your image to be. So I'm going to pick 1000 by 1000 to make it square. You can change the resolution here as well, but just keep it 72 for now on. Then I'm going to make it a PNG, and then you're going to select here where you're going to save it. So I'm just going to call this wolf no Polly Wolf and then click safe so it hasn't saved yet. Lonely, safe. Once you render, then we'll go to effect click ambient occlusion, in effect again on global illumination on. We're just going to leave those settings as they are, then go on thick on Brenda and it should take a little bit more time this time. But once it's finished, it will save the image to the location that you specified and the render should look much much nicer. So there you have it. Now you've created a low polygon wolf on you've learned how to render it in cinema 40. See you guys next class for the conclusion of the course. 14. 14 - Conclusion: So with that last video, we've come to the end off the low Polly off course. And here's the final render off the low Polly Wolf. Hopefully, this course has helped you with Modeling on has helped create a good foundation for creating different types of locally animals or characters in cinema four D. I encourage you to experiment with the techniques showing in this course on to take a look at other settings available once you get comfortable to making, once you get comfortable with making different animals, I hope you've learned a lot in the demos on Learned some new tips and tricks that we've learned that that we've used along the way to complete this particular piece and things you can apply into your future Work flows. I hope you've learned some things that you haven't seen before that will aid you, goes into completing your future models. I had a lot of fun creating this piece, so thanks for watching good luck creating your own boss and characters, and I'll see you next time for some more. Our tutorials