Black Widow - Model, Texture, Rig and Animate a Spider in Cinema 4D | Dave Bergin | Skillshare
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Black Widow - Model, Texture, Rig and Animate a Spider in Cinema 4D

teacher avatar Dave Bergin, CG Artist - CG Shortcuts

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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

    • 1.

      Introduction

      1:09

    • 2.

      Modeling the Body

      7:02

    • 3.

      Modeling the Legs

      9:44

    • 4.

      Modeling Details

      36:39

    • 5.

      UVs and Scultping

      47:55

    • 6.

      Texturing

      26:46

    • 7.

      Rigging

      29:04

    • 8.

      Animation

      28:02

    • 9.

      Class Project

      0:44

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About This Class

Hey it’s Dave from CG Shortcuts, Welcome to the Course! 

In this course I’ll show you how to create a Black Widow Spider in Cinema 4D!

You're not limited to just Spiders as well, take your new skills and apply them to any character!

Character creation is hugely popular at the moment so it's going to look great on your portfolio or showreel! 

By the end of this course you’ll level up your Cinema 4D skills and be able to create your very own Characters.  

All you need is Maxon Cinema 4D - Don't worry if you don't have it because you can download a free demo to start learning straight away! 

We’ll cover everything step by step so you can easily follow along, including.. 

  • Modeling
  • Sculpting
  • UVs
  • Texturing
  • Rigging
  • Animation

You’ll also get access to the final project file (with Octane setup) so you can use it as a starting point for your own creations. 

That’s it for now, let’s get started!

Meet Your Teacher

Teacher Profile Image

Dave Bergin

CG Artist - CG Shortcuts

Teacher

 

 



Hey it’s Dave from CG Shortcuts, Welcome to our Skillshare Page! 

I’m a freelance 3D and Motion Graphics Artist based in London where I’ve been working and teaching in the industry for over 10 years.

I hope to share some of the tips and tricks I’ve picked up over the years while working with some pretty big clients in Europe, Australia and the USA .

Hopefully I can help you through all the boring technical stuff so you can concentrate on what really matters… lens flares!…(kidding)… the creative stuff!

I’d love to see what you guys create with the skills you learn in the classes! So please feel free to share on the project page o... See full profile

Level: Advanced

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Transcripts

1. Introduction: Hey, it's Dave from CG shortcuts. Welcome to our new Cinema 4D course, Black Widow. We've teamed up with Moscow Lima, one of Brazil's top Cinema 4D artists to bring you this advanced course in character creation. In this course will take you through the entire workflow from start to finish for creating the black widow spider in cinema 4D. And the good news is you won't need any other software or plugins to complete the course. You can even do it with just the free cinema 4D demo available from the maximum website. So follow along with us as we take you through modelling, UV creation, sculpting, texturing, rigging, and animation. We've also included the final render ready project file to help get you started. By the end of this course, you'll have a better understanding of Cinema 4D is character creation tools and you'll know the exact workflow to take when creating your own characters. And you won't just be limited to creating spiders in the class project will encourage you to take your new skills and think outside the box. Maybe you could try something like this instead. That's it for now. Let's hop into Cinema 4D and start creating the black widow. 2. Modeling the Body: Okay, so before we start modelling, it's super important that we start with good reference. If we want to ask spine out to be as photo-realistic as possible, we're going to need good quality photos as a guide. One good resource for photos is iStockPhoto. This site has been around forever, so the library is absolutely massive now. So let's try and do a search for black widow spider or a red back spider as they're known down in Australia. And you can see that returns a load of high-resolution images. And best of all, we've got a load of different angles, which will also be super-important for our modelling. We also want to make sure we grab images showing off some of the finer details. Some of these close-up shots will be super handy as well. Another good option is a good old Google Image Search, although the image quality tends to be a little lower here. Either way is start off by grabbing a load of quality reference images. And you can even choose a different species of spider if you like, or just follow along as we create the Black Widow. I'll also include links to where I found my reference images in the resources PDF that you can download with the course. Okay, without further ado, let's hop into Cinema 4D and start modelling this guy. And I'd like to start modelling in the side view. So let's hit F5 on the keyboard to bring up our different views. And I found a great reference for the right view. So let's click here to switch to that view to bring our reference image into here. Let's grab the mode menu here and head down to the view settings. And under the back tab, which is shortfall background, Here's where we can import our reference image. We're going to go with our scientific drawing of a cross-section of a generic spider. And you can check the reference PDF for where to grab that. And obviously this isn't a black widow spider specifically, but it does give us a good idea of the anatomy of most kinds of spiders. So you can probably also use this if you plan on modelling a different species of spider. And we're going to use a combination of different modeling techniques throughout the course. The first of which will be box modelling. But rather than a box, I actually prefer to use a cylinder. So let's bring one of those in. And I want that cylinder to be pointed along the length of the body. So let's change the orientation to a negative Z, like so. And I also want to decrease the height segments to one and the rotation segments to 12. And we're going to position this and extrude this along the curvature of our spiders body. But first we'll need to make our cylinder editable by clicking this icon or hitting C on the keyboard. And that converts our cylinder into a mesh that we can extrude and deform. Then I want to remove the caps at the ends of the cylinder. So it will switch to polygon mode and grab our rectangle selection tool. And if we click and drag along the edge here, we can hit Delete on the keyboard to remove those faces and the same at the other end. Now, if we switch back to our perspective view, we're now left with this hollow ring shaped piece of geometry. And now we can start extruding from this. So back in our side view, we now want to work in edge mode. And we want the move gizmo. Now if we hit U and L on the keyboard, we can select an edge loop here. And we can start moving these into place and extruding them along the whole body of the spider. And so we can see this a bit easier. Let's switch to the shading mode. I think the easiest way to do this is with a combination of moving and scaling the edge loop so that it starts to conform along the shape of the body. So if we put that about there, we can then hold Control and extrude this out to build out the polygons of the model. And we'll scale that edge loop as well and put it into position here. Then it's just a matter of repeating this process until we have the rough shape of our spiders buddy extruded out. And you don't have to make this perfect at this point. We'll do a lot more fine tuning as we go. But this is definitely going to give us a good starting point. And you might find switching this to x-ray mode might help out with lining these shapes up with our reference image. And that's how I like to work anyway. So let's go ahead and do this for the full body. And feel free to skip ahead on the timeline to the next chapter if you want to move on to the next step. Okay, so now that that's done, let's take a look at our top view where you can see our spider is looking a bit skinny. She obviously hasn't eaten too many flies today, so we need to fatten them up a bit and get that shape right from this perspective as well. So it will switch to the top view. We need to bring in another reference image. So same deal as before. We'll go to Mode View settings, then over to the back tab, and we'll bring in another image. This time we're looking for a nice bird's eye view of our spider. And I've actually created an image we can use for this from a previous model. So let's use that as the guide for our top view. And it's coming a tad too big, but we can scale it down over here with the size controls. About there looks good, but it looks like it might be a tad off center as well. So we'll also tweak the offset a little until it's right on that center line. Alright, so now we can grab those edge loops by double-clicking on them. And we just need to do the same thing from our top view. Again, this doesn't have to be perfect at this point. We'll find soon all these shapes a little bit later on. And we'll just put this about here for the face. Now let's take a look at what we've got so far. We've got our basic spider shape all sorted now. So if you plan to do a different kind of split up, feel free to start tweaking your mesh from this point. But if you want to follow along with us and make the black widow, we'll just make a few more tweaks to the shape of our spider now to make it a bit more black widow ESC. So back in our side view, let's bring in our Black Widow reference image. And we need to scale this up a bit closer to the size of our geometry, mainly to the shape of the head here. So we'll just move that up a bit too. With the exact same techniques will make the shape can form more closely to the Black Widow body shape. Again, it's just a combination of moving and scaling these edge loops. If you do run out of loops and don't quite have enough in there to make this shape nice and round. We just need to right-click and choose Loop Path Cut. And we can add a loop like so. And clicking this will also sent to that cut between those loops either side. Then we can just carry on positioning these to create a smoother shape. I'll quickly go through and match the new reference, but feel free to skip ahead to the finished mesh. Okay, it doesn't look like much at this point, but it does give us the rough shape of our Black Widow cell. It's now throw this into a subdivision surface. And we're now ready to start modelling the legs. Let's save our file and I'll see you in the next lesson. 3. Modeling the Legs: Okay, so now that we've got the rough shape of our black widows body modeled out. It's time to create the legs. And unfortunately, I couldn't get a spider to pose for me it with straight legs. So we're going to have to work with these scientific diagrams. And we'll need to simplify the legs in a way that will leave us with good, clean geometry that we can later use to rig and animate. So if we open the Cinema 4D, this is how I've chosen to translate the shape into a very simple mesh. Each of these joints along the leg, I'm going to need a little indented section in our straight leg, like so. And you can see I've got one of these for every joint along the spider leg. So let's use this very simplified diagram as reference for modelling the legs. So we'll open up our spider project again, and we'll do the same steps we did in the previous lesson to bring that image into the front view. This time, I will just never get to that guy. Okay. And we'll just move this into place on the right side of our spider body. They will grab our mesh and subdivision surface and group those objects together. And we'll hide that for now while we model the legs. And we're going to box model this just as we did with the body. Let's bring in another cylinder. We want this pointing along the direction of our reference. So we'll switch the orientation to negative x. Then to see the lines will hit up here and turn on the wireframe. We want to reduce the segments on this cylinder as well. So I'll make the height segments one and the rotation segments six will also hit C on the keyboard to make this editable. And we'll remove those caps in the same way we did in the previous video. And we'll delete those. We've now got a hollow cylinder again, and we'll model this in the same way. So let's grab the edge tool and grab the end here and switch to the front view. And we'll also switch on x-ray mode. So now all we need to do is line these edges up to where we have them in the reference image. So we'll bring this over here and scale that down. Then holding Control will extrude this to here and scale that down as well. Then control again to extrude and just scale that up. And it's exactly the same process as we did in the previous lesson. So I'll just go ahead and do the whole length of the leg with the same technique. Alright, and we'll sort it out the other end. Something like that. So now the next step will be modelling the tip of the spiders leg where it actually has creepy little claws. And here's some extreme close-ups of a spider's foot. And I have to say it's a little weird looking. They've got some pretty strange looking feet. So we're going to simplify this for our model. We don't really plan on doing any close-up shots of the feet anyway. So let's hop back into Cinema 4D and we'll take a look down this end. Firstly, I want to close off the cap here. So I'll right-click and use the stitch and sew tool, which will allow me to click and drag across some geometry to fill that hole. Then we'll switch over to polygon mode. With these new faces selected, we'll hit I on the keyboard for the Extrusion tool and click and drag in another edge loop. Now we've been doing some very low poly modeling so far. But this part at the end is going to need to look fairly round and organic. So it might be a good time to bring in another subdivision surface to give us a better idea of what the final smooth doubt mesh is going to look like. Alright, so now we can extrude some creepy little claws out of this. So we'll right-click and make sure we've got extrude selected. And down here in the options, I'll give the extrusion one level of subdivision. If we extrude this out, that whole section comes out. But we actually want to branch this out as two separate clause. Let's just undo and switch off Preserve groups and try that again. And that gives us these two separate parts. We might just extrude this out a little bit further to about there. Okay? Now I want to select just the tip area. So hit U plus Y on the keyboard a few times to grow the selection. And what does scale this part down into little pincers like so. And we'll grab the tips and scale them down a tad more to make this a bit more pointy, something like that. But it might also go a bit freestyle here and just tweak these into a slightly more interesting shape. So we use a combination of the gross selection tool and scaling. And so we get something a bit more clear like we might just scale these inner tab and maybe just have one of these a little smaller than the other, something like that. So just play around with the shaping until you're happy. It's also important to get a look at your model on every angle so you can make sure your shapes are looking great in the 3D space. And switching between subdivision and low poly from time-to-time is also a good idea. So you can make sure you don't get anything weird going on with your mesh. And you can also use the shortcut key to toggle subdivision on or off. Okay, I think I'm happy with that. So the next step will be creating eight of these legs and getting them into position around the spider's body. So with the legs selected, will hold Control on the keyboard and drag out three copies of this geometry. And while we're at it, Let's also rename these so we don't get confused later on. And we can hide these ones for now. Let's head over to the right side view. And we'll make leg number one can form along the shape of the front leg in our reference here. And the way we're going to do that is with the Spline Pen tool, which we'll use to draw out that shape, will add a spline point here at the base of the leg and another one at the start of this joint and on this one as well. And basically we just want to put a point on each of these joints. So another one here and here, and there, and there. And that's actually bends a little here in the middle. So add one there as well. And finally here at the tip of the leg. Alright, if we take a look at the top view, will need to move those points to where they need to be in the x-axis as well. So we'll grab the Move tool and start moving these into place. And the joints at the same points we did in the side view. So I'll just go ahead and do that. Now if we take a look at the perspective view, we've got a nice line roughly along that leg. However, our reference images aren't perfectly aligned. So now if we look back at the side view, those points will be a little bit off now. So I think we'll rely more heavily on the side view for this particular leg. Just tweak these points again to match that. And again, we don't need to be too perfect with it at this stage. We'll refine these a bit more later on. Alright, Let's take one more quick look at the top view. And I just want to make this shape is natural as possible by I. So I might just get rid of that bent bit here, something like that. So we get a nice arch in that leg k. So once we're happy with that, we're going to use a spline ramp, the format to make our geometry wrap along that spine. So we'll bring that in and make it a child of leg one because we need to make eight of these or you better rename our spline to match as well. So now we'll tell our spline wrap to wrap leg one, that geometry along the leg one spline. So we'll click this arrow and choose that guy. There we go. And what's cool about this setup is that we can easily tweak the shape of the leg by moving the underlying spline points. We might also just fat in those legs up by increasing the size down here. So we'll go ahead now and do the same process for the other three legs. So feel free to follow along or skip ahead to the next chapter. Alright, so now that we've got our legs sorted out, let's group all of these together by hitting Alt G on the keyboard. And we'll just rename this as well. Then we can unhide the body. And all that's left to do is mirror these legs across to the other side. So it might just hide that again. And over here, we can use a symmetry node. And all we need to do is drag our legs into there and that should mirror them over like so. We'll save this now and I'll see you in the next lesson where we start adding some extra detail to our spider model. 4. Modeling Details: Okay, so before we start detailing our spider, now is probably a good time to set up some layers so we can easily hide and show different parts of the model. Let's make two new layers in our layer manager here. And we'll put the body of the spider into this layer and the legs in this green one. And now, rather than turning individual pieces on and off in our object manager, we can just toggle the solo button on each of these layers to isolate whatever we need to work on. So let's solo this for now and we'll start detailing the body. First. We need to close the hole we've got here where the spiders face is going to go. So let's double-click on one of these edge lines to select that loop. Then we'll right-click and choose Close polygon hole. And we'll just take a look at the tool options over here. And I want the polygon type to be quads. And now if we click on that hole, it will fill that in and try and give us some nice quads in that new mesh. But it's not exactly perfect. We've got a few triangles at the sides there. Let's grab those and we'll clean them up. If we hit M and N on the keyboard, that will dissolve those edges. And then we can right-click and use the line cut tool to cut in some new edges. So let's cut from this point to here, and the same on the other side. And we'll cut from here across all of these, which still gives us a few small triangles on the ends. But I think that should be fine for now. I also want to flatten this face out a tad so it's not pointed down so much. We can just scale that in a bit on the z axis until it's a little bit flatter. That'll do for now. And I have a feeling she might also have a hole in her butt as well. Let's grab that and hit S on the keyboard to frame it up. And we'll just get a good look at this from over here. We are going to need to seal up that butt hole as well. So let's just tweak the angle of it first, like we did with the face. And we'll use the closed polygon hole tool on this end as well. Just making sure quads are still selected. And we'll have to do a little extra work down here and add some edges in manually. So again, we'll use the line cut tool and cut a few quads into the mesh on both sides to get rid of any triangles. Let's also dissolve some of these edges and just make a few more cuts on this side. That's looking good for now. Let's head back to the head and it will start giving our spider some facial features. And we'll make sure we've got the model selected. Then we'll switch to polygon mode. And we're going to extrude out a couple of things for our spider. So grab all of these faces and just do our same extrusion trick by grabbing the Move Tool, holding control and dragging this out like so. We might just move that a little bit further out. And it will scale these in the z axis as well to flatten that up a bit. And we'll grab these bottom faces. And I'll scale them down as well to flatten those off. And you can see down here, That's faces and now nice and flat on the y-axis. I will extrude these down. And then I want to type them in a bit. So I'll hit M and W to switch to the Extrude Inner tool. And we'll just click and drag that inward. And now we want to hold control again and extrude this part downward. And we'll do this twice. So we've got some extra subdivision in there. Then we'll scale this bit out again and extrude it downward a couple of times before finally tapering the tip of the fangs in width at the end. We'll also extrude out a smaller thing at the very tip, something like that, which doesn't look all that impressive in low poly. So let's activate our subdivision surface and see what that looks like, smoothed out. Alright, it's definitely getting there, but it's probably going to be a bit easier to refine this with the sculpting tools. And in this particular version of Cinema 4D, we can find the sculpting tools up here in the Mesh menu down under sculpt. But we're actually going to need the sculpting brushes themselves. So for easy access, Let's grab this menu here and tear it off. And they're all grayed out at the moment because we need a mesh selected to use these. So we'll grab that. And I think we'll start refining the shape of our fangs with the smooth brush, which is a tad too big. So let's bring the brush size down and will also lower the strength and start sculpting. Might even try object mode or edge mode might work better. And we'll just sculpt this up so we get a shape we're happy with. And I don't like the sharp edges up here. So we'll smooth that out of ten. And I think the triangles we have left in here are going to give us issues. Let's have a look without smoothing on. Yep, that's not good. Let's grab those and hit m and n Again it to dissolve those edges and turn those into quads. Okay, that's better. So I'll just carry on smoothing this mesh out a bit. And I also like to use the in-flight brush at a lower size to just inflate parts of our mesh out of it. It's probably not a bad idea to refer back to our reference images for this, but I'm gonna go a bit freestyle here. And also the controls in Cinema 4D for sculpting are very similar to ZBrush. Holding shift will also smooth out the model and holding Control will invert the effects of whatever brush we're using. K. I want the Fang here to look a bit more like a pin say kind of thing. So I'll give the grabbed brush a try for this. And this works a lot like the Move brush and zed brush. Let's just see if we can curl this back this way a bit. We might just refer to our side view reference image. And we'll just tweak this until we get it in about the right spot. So let's spend a bit of time refining this. Occasionally you might run into issues like this though, where the geometry starts to overlap itself, will need to see inside the model to correct that. If we switch to the side view and zoom out of ten, we can grab the Lasso selection tool. And without model selected, we can grab all the polygons we want to hide. So all of this stuff. We've missed a few here. Then up in the select menu, we'll choose, hide, selected. And now back in the perspective view, we can get a good look inside our model. We can see it's definitely a bit messed up in here. So let's double-click the edge loop and will grow the selection with you and Y on the keyboard. And now we can limit our sculpting to just what we've got selected here. So we'll grab our brushes again and just start smoothing this back into place. Now I'm trying to make a bit of a gum here. So I want it to overhanging the Fang base a little bit. So I might just go back here and grab these points and just pull them up inside a tad. And have a look at that. Cool that reveals those things a bit more. Let's increase the subdivision so we can see what that looks like. Smooth out. Not bad, but we'll definitely refine this a bit more. And I want a bit of an indentation just before the sharp tip of the wing. So let's right-click here and add a loop cut. And we'll just add a couple of loops in here. Then if we grab a couple of these and scale them in a bit, gives us a bit of a leap between those two parts. I might just bring this into more of a points at the end by scaling these faces down a bit. And maybe move it over here to create more of a hook shape. And if we start to run out of geometry and things that stretching like this, we can always add some more loops. And we'll just add enough to prevent that stretching. Something like that. And it's definitely starting to look a bit more fang like. Okay, So let's bring back the rest of our model and we'll hit up to the Select menu and we need to unhide all. And that's the front side of our spine. I'll sort it out. So I guess it's time we sorted out the backside. Obviously we can't leave this bit flat like that. So let's refer back to our reference. We're going to need to model the posterior spinnerets, which is a nice way of saying these gross things on her bum. So with these faces selected will hold control and scale that in a ten to give us an extra edge loop. Then we'll extrude that first spinneret from this section. We'll do that twice, so we have an extra loop. And we'll scale this, flatten that off. So it's flat on the y-axis. Then we'll scale that face down and try to round that to ten. Then we'll expand the selection to grab all of those faces and just bring it down a bit further. These are like little chubby kind of things. So we also need to have a hole in the end here. And obviously the end is a little bit sharp. So let's go back to our sculpting brushes and just smooth that out a bit. And it might also be a good idea to turn on the subdivision surface so we can see what that final smooth mesh is going to look like. We could also try the in-flight brush again to give us a bit more volume. So I'll just refine this a bit with the sculpting tools and maybe taper it off a bit. And we'll also keep an eye on what's going on inside the mesh. So pretty much the same techniques we looked at before. Okay, then we need to do the exact same thing and create another one of these here. So feel free to watch this process or skip ahead to the next chapter. Alright, now that I've got two of these modelled on that side will save ourselves a bit of time and mirror this over to the other side. So I need to double-click on these edges that run down the center of our model. And just make sure that runs all the way around. And it looks like we've got all the edges we need except down the middle of the face here. So we'll hold shift and add those to the selection as well. Now that we've divided that in half, we'll go up here and select, Fill selection. And if we click anywhere on this left side of our model, it's selected that whole chunk. And now we can just delete that side of the model. And all we need to do now is mirror this side over. So back here, let's use symmetry again as we did in the last lesson. And we're not seeing that over here. So let's go back to our layers for a second and turn off solo. And I'll add our new symmetry to that layer as well. And now we can solve for that again. We can put this into there. Now. Let's married over, but our fangs are intersecting. Now. Let's grab these two faces and delete them. Then we'll switch to point mode and we're going to 0 these out on the x-axis. Now, if we enable that, we're almost there. We also need to do this guy here. And this one as well. We might need to just double-check this and make sure nothing else is intersecting. And we'll move this into the subdivision surface. And it's almost there, but our topology isn't quite flowing the way we want it up here. Let's just make sure those points are zeroed out as well. Okay, we'll smooth that out again. And that's looking better. So let's check the back-end as well. Same deal here will also need to make sure these points are right on that line of symmetry. K. I think the end of her but is also looking a bit flat for my liking. So let's grab our loop cut tool again and we'll add some extra subdivision. Alright, I'm still not happy with the flow of the geometry down here. So let's go back to point mode and grab our line Cut tool. And we'll add a cuts in here, which does give us some triangles which is not ideal. But what if we dissolve this guy? I think that should do for now. But let's also try and tidy up this bit as well. And we'll try and making some cuts in here to give ourselves some quads, something like that. And I will just dissolve these as well. And let's see how that looks. Maybe a bit more work down here. We want to try and clean up any triangles. So our smooth mesh has a nice edge flow. And it's still a bit dodgy down here. What if we cut along here? And something like this? We probably don't need this extra subdivision in the middle here either. So let's grab these and dissolve those as well. Alright, when we're happy with our mesh, we can move on to attaching the legs. But before we do attach the legs to our model, I just want to go into our symmetry here and enable Clamp points on axis. So we don't accidentally move any of these center points again. Then we can grab the mesh and make sure we're in polygon mode. And we're going to attach the eight legs onto these eight faces. So we'll select those and we'll extrude them downward and just scale them in a tad. Then we can head back to our layers and turn off soloing to bring those legs back. And we'll want to work on that front leg first. So let's add that to the same purple layer. We'll do the same too. It's spline. We won't need that spline wrap anymore. So what we can do is solo the main Michigan. And I will just grab the leg and the spline and right-click and choose Connect and delete, which will get rid of that spline ramp. And we can also get rid of the spline as well. Now let's see if we can attach this guy. We might need to scale the leg down a bit to fit onto the body. So let's just select these polygons and scale them down. We'll grab the edge tool and switch to our bottom view. And we can grab the edge loop at the end here and just move that into place. And I want to connect it about there. I think I will just tweak the leg a tad so it lines up. And we could even import our bottom view reference image as well to help with the placement of our legs. So just like we did before, Let's now grab the bottom view. So that's where we're aiming for. So about here is where we need to attach it. And let's actually go back to the perspective view. And we'll grab these two faces and delete them. Then we'll switch back to Edge mode and just rotate this slightly. Then with both meshes selected, we'll hold shift and double-click on both of these holes, then right-click and choose stitch. And so then we need to try and do this so that it doesn't twist. So maybe from here to here, not quite. Let's undo that and try here to here. And I think we can work with that. Let's try it in the symmetry. It's not perfect, but we'll tidy this up in just a sec. But you will notice at this point the legs still isn't connected yet. So we'll just need to grab both meshes and connect and delete again. And to make sure we don't have any weird points or imperfections, I also like to optimize the mesh after connecting. And now if we enable smoothing again, those legs have now become part of the mesh. But we will just grab that edge loop and tweak it at ten. And I want this join to be a little bit smoother. So we'll just finesse this a bit and maybe add another edge loop. Then from this point, it's probably easier to just use our sculpting brushes again. I'll just use a combination of the smooth brush and the in-flight brush to make the leg look a little bit more natural. Until we get something that looks like this, where all that geometry is flowing nicely. And now it's just a matter of doing the same thing for the other three legs. So we'll go ahead and do that now if you want to follow along, otherwise, skip ahead to the next section. Okay, so now that we've got the main body shapes sorted out, we'll just add a few more of the smaller details before we move on to creating UVs. We don't need those layers we set up before now that we've combined everything into a single mesh. So let's delete those and just remove what's left on that other layer. Will also go to our symmetry and enable delete polygons. On access, we can start making some extrusions on her belly. So let's switch to polygon mode. And we'll grab these faces. And we might just disabled smoothing while we do this to make sure our low poly mesh is looking good. And we'll extrude these end to make another edge loop. And we'll tidy up the triangles with our line cut tool again. Let's cut across here and here. Then we'll grab the edge along here and dissolve that. And now we can extrude this section down like so. And we'll just scale this down until it's nice and flat. And we'll extrude again to add another edge loop. Then we'll do the same up here. And again with the line cut tool and tidy the triangles up like we did before. And again, we'll extrude and flatten that up with an extra edge loop. Let's see what that looks like. Smooth down. And I think that's fine for now. So let's move on down here. And I'm going to use the exact same technique. So skip ahead if you need to. And this is actually going to be a bit of a pouch. So we're going to tidy this up the same way. But this time I'll extrude inward to create a little hole. And what to scale that down a tad on the inside. We don't get a whole in the mesh here. We just need to make sure these points are right on that symmetry line, which is of course on the x-axis. So let's 0 then out. And so this matches our reference a bit closer. Let's use our sculpting brushes to smooth this out. Okay? Now back in our reference, There's some more of these kinds of details below there. Let's do the same thing again to create those. The sculpting brushes will come in handy again here. Alright. I'm just going to have a look at another reference image I've got here. And we'll just do some light sculpting to get this looking a bit more like those shapes in the image. Now that I look at this reference, I can see our legs aren't quite right either. So let's dissolve these joints and try to make it look a bit more like this. So I'll add some loops in here and scale it into form that first joint. Then we'll just make sure all of our legs can form a bit more to this reference photo. And I'll just tweak the joint on this leg as well. And here too. I think these all needs to be further down the legs. Okay. And I think this area could use some work as well. So another tool I like to use is the soft selection. And with Edge mode selected, we can enable Soft Selection in any of our transform modes. We just need to come over to the options and enable it in the soft selection tab. Now if we grab an edge, we get a selection with a falloff. And we can adjust that fall off with the radius slider down here. And let's just change views for a second. And we can use this a bit like the grabbed brush if we switch to the Move tool. And let's just tweak these edges and we can subtly nudge them into place. And if we want a greater influence, we can just increase this again. Let me just get this into place and we'll keep an eye on how that looks smooth out as well. So I think that looks a bit closer to the reference. So I'll just make a few more adjustments. And it looks like we've missed a few details on the abdomen as well. So I'll just use those same techniques we've already looked at to add that in. And I might just make a few more adjustments to these bits as well. Kay? This area could also use a bit more work. Let's surface looks a bit flat. I think it should create a bit of a lip around these bits at the tip. So let's add another edge loop here with a few subdivisions. Then I'll go back to our grabbed brush and pull this up and to create a little flap around these. And I'll refine this back in low poly mode k. Let's maybe try bringing these in as well. I'll just tweak this for a while until it looks a bit more like the reference. And I just want to make sure that topology stays nice and even as well. And that'll be afraid to add in more subdivisions if you need to. K, and it's definitely starting to look even creepier now, but I think it is a bit closer to the reference cell. Let's just continue making minor tweaks with the sculpting brushes. And we'll just smooth out any areas that are looking a bit too blocky. And I think the legs look in a bit bent there. So we'll straighten that out as well. Okay, so let's make that abdomen match the reference a bit closer as well. And I'll use the soft selection again and make this conform to that shape a bit closer. Alright, and we're almost there now. I just want to add some last little features on our spiders face. So let's take a look at another reference image. And we'll have a go at modelling those feelers on her face. And again, we'll do that same modelling method from a cylinder. And let's put it the other way and lower the segments and just get that into place. Then we'll hit C on the keyboard to make that editable and remove both of those polygon caps. We're going to do the same combination of extruding and placing these segments along the shape of l reference. And this lesson is already quite long. So I'll speed up this process a bit. I think you've got the gist of this kind of modeling by now. Okay, so now that we've got that, let's close this hole and tidy up the geometry at the end again. Then we'll need to position and scale this to fit onto our model. And these needs to go on the outside of the fangs. Then in order to attach these, we might need to create another loop. So we've got a quad that we can attach it to. So let's go from these guys. We'll delete those. Then we'll switch to our Edge mode and grab both holes. And we'll grab the stitch and sew tool again to join these together. Then we'll just tweak this so that they flow into each other a bit more naturally. We need to combine these into a single mesh. So we'll grab both of them and connect and delete. And to make sure we don't get any weird points leftover, Let's optimize the mesh as well. And we'll turn symmetry back on again. That's looking good. And we might just do some more fine tuning with the sculpting brushes as well. Right? Now we also want to make sure the joints on here match the reference as well. And these can be a bit puffier than that. So I'm just gonna go ahead and make sure all the joints on the legs are looking right. And I'll pump up our spider a bit to accentuate the shapes of the body. Then we'll finish off the model by adding in some eyes. So skip ahead to that if you like. We also need to add a few more details from our reference onto the abdomen here. Let's add in a few more subdivisions. And there's also a few circular details back here. So let's grab these points and we'll right-click and choose Bevel. Then we'll just bevel out some extra rings here. If we switch to polygon mode and grab, both of those will extrude enough this time and apply that to make these round indentations. Okay, cool. Now we can use the same techniques to give our spider eyes. So let's zoom into the face here. And we'll lower the subdivision level. Then we'll grab the polygon tool again and grab a polygon to add our first i. Let's right-click and grab extrude enter again, and apply that. Then we can tweak those settings to give us the right shape. And as a spider, she's going to have eight eyes or lab. So we'll do the same over here and apply and two more up here as well. Then we'll grab the center of all of these and hit Delete to cut holes out for all the eyeballs. And we'll grab those edges and extrude them back to give it a bit of depth as well. Then we'll just tweak the size of these so that they match our reference a bit closer. And all the I's needs to be a fairly similar size. So I'll just go ahead and adjust these. Okay. I think that's looking pretty good. Let's increase the subdivisions again. And it might just use the soft selection again to position the eye sockets a bit closer to the reference. And it's also a good idea to switch back to low poly mode every now and again to make sure the mesh isn't doing anything too weird. And we might just adjust these attached as well. Okay, so now we can add a sphere to be our first eyeball. What does get this into place? And scale it down about there it looks right? Then we'll hold control and duplicate this down here. And I'll do the same for the other three I's, and I'll just speed the video up a bit for that. Okay, and now we can grab all of those eyeballs and group them by hitting Alt G on the keyboard. Then I'll just create a simple white material and apply that to the group. And we'll make that a child of our main mesh. And I'm fairly happy with that. But let's just tweak the mesh so it conforms to those eyeballs a little bit more. And I think we can say we're about done with the modelling now. So let's save it there. And in the next lesson, we'll take a look at UVs and we'll start sculpting in some of that finer detail. 5. UVs and Scultping: Okay, so before we start sculpting and sorting out our UVs, I just wanted to introduce you to a handy free app that you can use to keep an eye on your reference images. It's called quadro, and I'll leave a link to where you can download that below this video. And it also works for both Windows and Mac. And that's going to give you this option down here and allow you to place your reference images over any window on your computer, like so. We'll add another one here. And we can scale and reposition these however we like. So if we switch back to Cinema 4D and put these over to the side, we can now go about our sculpting and have access to those reference images at all times. And because we can also zoom right into this, It's super handy for sculpting in those finer details. One more thing I want to mention before we start sculpting is the importance of having good topology. As you can see here, I've got two cylinders, one with a low level of segments or subdivisions and uneven topology, and the other with more subdivisions and much more even topology. If we now convert both of these into editable objects and switch to our sculpting layout. Let's rename these and test our sculpting brushes on both of them. Let's hide this guy for a second. And we'll subdivide this mesh a few times so we can sculpt some fine detail on here. And you'll see straight away that we're running into the first problem. That mesh is losing its shape at the top and bottom. And if we subdivide this a few more times and try to sculpt on here with that very low and uneven underlying topology. Any details we sculpt on here are going to be distorted. And they actually stretched downward across that surface. So it's going to be impossible to get some decent detail into this mesh. But if we take a look at our other cylinder and do the same thing, sculpting on here is going to work a lot better because there's enough even underlying geometry to capture that detail without any distortion or stretching. So let's take one last quick look at our model and make sure our geometry is ready to sculpt. And straight away, I can see that the polygons on our spiders legs are a little bit stretched and we'll need to subdivide these so we can have a much more even and more square topology. So let's right-click here and grab our loop cut tool again. We can use this controller here to add or subtract extra subdivisions. So that's even that part out. Let's do the same here and add another subdivision. Then we'll check the rest of the leg. And we'll need to do this a few more times. I think. I'll just go through each segment and subdivide those. When we've got that leg done, I'll go through and do the same for the other legs. So feel free to follow along or skip ahead. K. So the topology on a model is now much more even and all those polygons are nice and square. So I think we're ready to create some UVs. So let's disable our subdivision surface for now. And you can see our low res topology is all nice. And even now, then we can find our eyes into a group by hitting Alt N G on the keyboard. And we'll rename this to eyes to keep this nice and organized. Then we'll hide those for now. And if we take a look around the front, we should also probably close those holes we cut in the mesh for the eye sockets. We don't run into any problems down the line. So let's turn off symmetry for a second. And we'll grab the closed polygon hole tool again and just close all of those. Then we'll enable symmetry again and hit C on the keyboard to make this editable and merger the symmetry down into a single mesh. And we'll take that out of there and delete the leftover. Now, I've just noticed this area looks a little bit empty, and I think we might have missed modelling the detail in here. So let's grab those faces and we're just going to extrude them out as well like we did before to create another one of those shapes along the belly. Like so. We'll put that mesh back into the subdivision surface. And that's looking a bit more interesting. So now we can finally start cutting this mesh up and creating our UV islands. So let's start by removing the UVW tag from the model that's been automatically generated. So delete that. And without mesh selected. Let's grab our Edge tool and we'll select the edges we want to use, as seems in our UVs. And as this is an intermediate course, I won't go into the science buying UVs and I'll presume you already know what they are and why they're important. So let's just figure out the best way to divide this up. I want to UV the legs separately from the body. So let's start selecting around those. And we'll select the edges along the belly and around the legs and like so. And maybe this will be easier with sub-division on. Then we'll cut around the legs back here. And we want to cut these away from the body. So we'll go around the base of each leg, like so. And along here. Then so each leg is separate. Let's also cut between each one. So I've got four separate islands, one for each leg. Then we'll cut along the belly here up around the things. We also need to start thinking where we want our seams to go. Usually in an area that won't be as visible, which usually means underneath the modal. I think along here will be a good place for the same on this thing. And actually a good tool to use for this is up here under select. The path. Selection tool can speed this up a bit. And it just allows us to draw along this same nice and quick. So I will take it all the way along to the tip. And so we don't get any pinching when we unfold this, Let's add another cut here so that can unfold a little bit easier. We can always refine this later if we need to. It can be a little bit trial and error. Sometimes we'll carry on cutting away the body and make another same right along the center here. And we may need to cut this little patch bit off separately as well. We'll cut a siem into here as well. We've got another time saver up here, the mirror selection tool, which we can customize. And I want to mirror the cuts we've made so far to the opposite side, which we can do by setting this to world. And along the y-axis should be fine. And now those cuts are reflected to either side of the model, which is very handy. So let's add some seams to the legs now. So keeping with the flow of our other cuts, let's put a seam in here, which is nice and quick to do with the path selection tool. Then we'll add another one here for this leg. And up here and here. Then we'll just check the tips of the legs and make sure we finish those seams so they can unwrap nice and cleanly. Cut along here to the tip. And same on the other side. And we'll need to do the same on each leg and just finish the seams on each one. Okay. So now that we've sorted out the seams on our legs over on the right side, we can use our mirror selection tool again to mirror those over to the left. Okay, so let's move on to the feelers and we'll cut around that. And again, we'll need to make a seam along the bottom so we can unwrap this as well. So with past selection on again, Let's do that like so. And will mirror that across as well. Then we'll finish the same along the back here. And we'll probably unwrap her abdomen separately. We'll cut that away from the rest of the body as well. And that should unfold nicely. I think. The whole back here is a little more complicated though. We might need to cut that away as well and unwrap it separately. So let's grab the ring selection and cut around that. Then we'll cut each of these off separately as well with the ring selection. And back to line selection will give those some seams as well and mirror those over k. So that should be enough to fully unwrap this now. But it's probably a good idea to save this selection in case we need to come back and tweak it later. Let's go back to the Select menu and we'll set selection, which adds this edge selection tag to our model. And now we can UV unwrap L model. So let's switch to the UV edit layout up here, and back to object mode. With our spider selected. Let's click on the options for set uv from projection. With this set to frontal, let's hit, okay. And now we can switch back to Edge mode. And with the edges we want to cut along selected like this. We can now UV unwrap this, which gives us our flattened out UV islands. So now it's just a matter of checking these and making sure nothing is overlapping. And I can see right away this area here has some overlapping. I think those are the things we might need to make a few more cuts in there. So these can fold out a bit more. If we zoom in here, we might need to cut these off here. So let's do that. We'll UV unwrap again. And we'll try and find that same Ireland again, which is up here. And you can see we don't have that overlap anymore because that thing has been cut off. Now, let's mirror that across and we'll take a look at the other thing. We'll unwrap again. And that's gotten rid of any overlapping. Now, I'll just have a quick look at the other pieces here, which I think should be fine for now. The only other concern at this point is that there's not too much stretching going on because this area here, which is that abdomen again, bulges out quite a bit. I'd say we'll probably get some stretching in the texture map. So the best way to check that really is to come down here and create a new material. And we'll apply that to our model. And if we click into there, we can disable the reflectance so that we only have the color channel visible. And in here, we can go to surfaces and add a checkerboard pattern. Now, looking at that pattern, we can see that each black and white square, it looks pretty evenly distributed across most of the model, except for the abdomen, where the patterns looking at larger and more stretched. And if we delete this material, we can also check this in the UV editor and textures where we can enable the built-in UV map texture. And again, you can see how that stretching, Let's empty that. Because we will eventually be exporting a four K-map. I think the best thing to do is import a four K map so we know exactly how that stretching is going to impact our final texture. So I've included a fork, a checkerboard map that you can download. So just grab that. And indeed that for K map is going to be stretched. So we'll have trouble with our texture maps and without sculpting. So it's definitely a good idea to add a few more cuts into this to even out the UVs. Okay, Let's empty that out again for now and switch back to Edge mode. Let's separate that top part of the abdomen from the bottom and unwrap them separately. So we'll make another same along here and across here. And we'll continue this down to the bottom and mirror that across. Then we need to unwrap this again. And now if we show that for k checkerboard map again, you can see that pattern is a lot more even across the surface of that abdomen now. And that should give us a better result when we do our final sculpting and texturing. Alright, Let's empty that out again. Before we move on to sculpting, let's just tidy up the layout of our UV islands. If we hold shift and double-click on the UV map tag here, we can open that in a new window and fit to screen. So we've got a bit more space to do this. Let's make a new texture and have it set up like this at four K with a black background and hit, Okay. Then we can move these around by hitting U and F on the keyboard, which allows us to select the UV islands. Then hitting E will switch to the move mode and we can place them aware we want. Let's just tidy these up a bit. And we can use R to rotate them as well. And I'll just go ahead and sort these out a bit. And will also scale up some of the smaller pieces as well with the scale tool, which is T on the keyboard, K. And another handy tool we can use to straighten these islands out is the line UV islands tool here, which can make things a little bit tidier. Alright, so now that we've got our UV sorted, we can finish up the sculpting and add a bit more detail to the model. But one thing I have just noticed is that I forgot to close the little holes at the end of these, which could give us some problems when we do our sculpting. So let's just switch to edge mode. And we'll close those polygon holes. And just make sure this is set to quadrangles. And we'll just close those up. So let's get this ready for sculpting. Now. Let's grab our split up. And I want to sculpt this with one subdivision level applied already, which we can get from our subdivision surface here. So let's hit C on the keyboard to turn this into a single editable mesh. And now we can load in our reference images. So I'll open up my quadrant menu down here, and we'll add some local images. And I want some reference imagery of the top and bottom of our spider. So let's grab this one for the top. And so we can keep an eye on this wall. We sculpt, let's right-click and have that always on top. And now we can move around in here and I'll reference will stay on screen. And we can also move this wherever we want and even scale it down if we need to. So let's grab the other reference we brought in earlier and move that here. And we'll also keep that on top. And we'll zoom in a tad so we can see that detail. Then we can switch over to sculpt mode. And we'll just make it a bit more room here. And now we can start to sub-divide. Our model for sculpting. Will subdivide this twice. Let's also turn on the lines so we can see how much geometry we've got to work with. And I think we'll need to get a bit more detailed with this. Let's subdivide one more time. Then we'll hide those lines again. And we'll start sculpting the top part of her head. And we're going to use the mask tool here, which is pretty handy for this kind of detail. Let's just break this menu off for easy access. Before we start sculpting, Let's also make a new layer so we can come back to our base mesh if we mess anything up. And we can even rename these layers so we don't get confused. And just to show you how this works, if we now try and sculpt on this layer and we'll just use the pool brush and make the brush a little bit smaller. If we sculpt here, we can simply remove that by disabling the layer over here. So we're able to return to that original mesh if we need to. Okay, let's undo that. Another tool we'll use quite a bit is the symmetry down here in the brush settings, we just need to pick the axis. We want the symmetry to be applied to, which in our case is going to be the x-axis. And that's going to let a sculpt on both sides of the model at the same time, which is going to save us a load of time. We'll undo that. And we can also use symmetry with our mask tool. So let's set that to the x-axis as well. While we're at it. Let's set this up in the in-flight brush as well. Okay, so let's do some masking. And in the settings we can reduce the size of the brush. And we're going to draw an X-shaped mask where the indented areas are in our reference image. And the idea is then to inflate the area outside the mosque. So we'll reduce the brush size and just draw this in fairly roughly. Let's mosque below here to create a bit of a lip and a little bit smaller. We'll mosque in here as well. And back here. And we're trying to create this shape. So we might have gone a bit thick with our mask. But if we hold control, we can subtract from the mask and make it a bit thinner. And we'll cut off a bit here as well. Then if we hold shift, we can also smooth out the mask so the edges aren't so sharp. So let's smooth out all those edges. And now we can start inflating the areas outside the mask off area. And we'll just make sure symmetries on. And we'll also bring down the pressure, which is the intensity of the brush and the brush size. And now we can start inflating these bits. I'm just doing this all by i just trying to match the reference as close as I can until we get those rough shapes in there. And we'll bring the sides add as well. And just pull this out into a little lip, something like that. And you can see symmetry is working nicely. Then we can invert the mask. And we're going to push this pot back into the model. So maybe we'll use the pool brush for this, a bit lower pressure and size. And if we hold control, we can invert the effect of this brush, which will push rather than pull. And again, we'll just try and match that reference. And if things start to look a bit bumpy, we can also use the smooth brush and smooth things out a bit. Okay, so just using these same tools, I'll go ahead and sculpt this detail in. So again, feel free to follow along or skip ahead. I think I'm finally happy with that. Now, let's close this reference image and we'll start working on our spiders legs. So let's just frame up on one of those joints. Then we can clear that mask out now, because we've done all of that sculpting on a layer, we can use the strength slider to turn that on and off if we need to. But we're just decrease the intensity. And we'll do the same for the legs. Let's make another layer for those. And we'll use the mask tool again. And I want to mask off the front two legs so we can isolate them and sculpt on them without the rest of the model getting in the way. So we'll adjust the brush size and start painting along this leg, which because we have symmetry enabled, is also going to mask that other front leg. And we'll just go all the way to the end here. And holding control, we can remove any areas we've accidentally selected. Alright, with that selected, let's hit Invert Mask. And I'll just smooth out that selection a bit. Then tied everything else but the legs. Let's hit Hide, masked. And this will prevent us from sculpting on any other parts of the model accidentally. So let's grab the in-flight brush with symmetry enabled and add some of these folds and wrinkles around the joints of the leg. And it's just going to be a matter of pulling these edges out a bit and blending that back into those forms. And then just using the smooth brush or holding Shift while you paint to smooth out that transition. And it's really just trying to match our reference as close as we can. And don't be afraid to reposition this whenever you need to. I can say this bit needs a bit of a groove in there. So let's hold control and invert the inflation to create that tip. If you find that grid distracting, we can go over to the Scene menu here under the view settings and disable or adjust legacy mode. Say you've got less grid subdivision if you need it. So we'll go ahead and sculpt the larger forms of these legs. So again, follow along or skip ahead to the next part. Alright, so we're getting there. Let's show that masked area again. One thing you might wanna do from time to time while you're sculpting is take a look at your model under a light side. Let's just bring one in and move it above our spider. And we'll make sure shadows are enabled in our viewport and also in the light itself. And now we can just move this around and see how light and shadow play with the different forms of our model. And this should give you a pretty good idea of what's working and which parts of the model need a bit of redefining k? Let's switch that off and come back to our sculpting. I think this bit here, it looks a little bit weird. So he might just reposition some of this. And a good tool for making larger changes to our Skulpt is with the grabbed tool, which is similar to the Move tool in ZBrush. If you've ever used that with the symmetry enabled. And with a fairly large brush size, we can click and drag on large areas of our model and really easily adjust those larger forms without destroying the Sculpt. Let's just give this a bit more space. And maybe bunch this up a little bit more as well. And we can even decrease the size of this brush and use it on the smaller areas of detail. So I'll just go ahead and find Shane some of these shapes with the grabbed brush. I think I'm happy with that. So let's go ahead and use the same techniques on the remaining legs. And I'll also add each part two when you're sculpting layout, just in case we mess anything up. And that's our legs down for now. And you can see, I've got those on another layer here. So now it's time to move on to the body. So let's create another sculpting layer. We might start on her face. So let's do our masking trick again and select just what we need. Then we'll invert the mask and hide, masked. And again, using our inflate brush, let's embed those eye sockets a bit better and add a bit more detail. Again, follow along with me or skip ahead to the next section where we'll work on her belly. Okay. Let's adjust our reference here and take a look at our spiders belly. I'll start with the grabbed tool to get those broad shapes sorted out first. And I'll use the pool tool to do a little sculpting down here. And again, this will be a bit of a time-consuming process. So follow along or skip ahead to the abdomen section. I came, let's do our masking trick on the abdomen this time. And we'll isolate that as well. Let's take a look at our reference again. And we'll start down here with the grab brush. And I just want to bring these in a bit closer to each other. Then we'll add in some of these wrinkles. And yet again, feel free to follow along or skip ahead. Okay, So looking at our model now under some different lighting, I think I'm happy with this sculpting we've done so far. So now we're ready to add the final details before finishing this off. At this point, we've been working with two subdivision levels, but to capture the finer details will need a bit more geometry to work with here. So let's subdivide this one more time. And we'll add another layer in here for our details, Scott and rename that. And you can see this layer is set to subdivision level three. So let's add some details. We'll grab the pool brush. Again, make sure symmetry is enabled. And for the finer detail, Let's also drop the size and pressure down on our brush. And I'll also use the in-flight brush quite a bit for this. So let's do the same for that guy. Then it's just a matter of going over the entire model in adding detail where necessary. And a lot of this is going to be going over the forms we've already created or accentuating the shapes. And I will spend quite a bit of time on this. So again, follow along if you like, or skip ahead to where we'll add the final level of detail. And I'll show you how to add some extra texture with the stamp tool. Okay, so now that our spine is looking a bit more detailed, it's time to add one more level of subdivision so we can add a layer of ultra fine detail. Again, this is going to be on one last sculpting lamp. So let's add one of those. And we'll use our pool tool, which over in the stamp tab, we can use an image to drive the shape of our brush. Let's click here and grab one from our hard drive. This one here should do. And if we scroll down here, we'll see a little preview of how our stamp brush stroke will look. And now if we zoom into our spiders body, we can stamp that texture on. And depending on the pressure, you can make it more or less subtle. I'm just going to use this to break up those surfaces and make them a little less perfect looking. And I don't wanna go too overboard with this, just a very subtle layer of fine detail over our model. So we'll go ahead with that yourself or follow along with what I do. Okay, so now that the final details around them, I often find that I need to make this layer even more subtle. And I think in this case, or reduce the amount of final detail by lowering the strength of that scope layer. And now that detail is a lot less visible, but a lot more realistic. I think. We might also want to check the contribution of the other layers as well before we finish this up. But to access those other layers, we will need to step down the subdivision level to where that layout was created, where currently at subdivision level for at the moment. So let's step back to three. And we can toggle that on and off to see the contribution. And I think these are fine. So let's try the next subdivision, lamb, which still has a mask applied to it. So let's clear that out and see what layer that is. I think the sculpting on the abdomen is fine. So let's have a quick look through these other layers, which I think are all looking good. But maybe those front legs are looking at bit intense compared to the rest of the model. So let's just reduce that layout slightly as well. Okay, Let's take one last look under the lights. Let's just add a floor so we can get a good look at the shadows and enable shadows in the viewport as well. Alright, I'm happy with that. So let's start exporting our maps. So let's delete the floor and hide the lights. And with our spider selected, let's bake sculpt objects. Will set a directory for our maps. And we'll use P and G for the format we want to create for K maps. So we can capture all of that detail. And we'll head over to options where we can choose the type of map we want to export. We'll choose a normal map first. And we want to check as well over in the Settings tab that are normal map is using the tangent space method. Then we can hit Preview. And it might be a bit small on your screen, but I have noticed a slight problem with our UVs. Let's take a quick look at those just in case you run into the same problem. If you remember when we started sculpting, I needed to close the holes on the abdomen here in order to start sculpting. But doing that has broken our UVs, as you can see here. But you can always go back and fix your UVs at anytime before you export your maps. So I'll quickly show you how to do that. Now, let's grab those UV islands and hit UV unwrap again. And what a scale them back into place. And if we zoom in here, you can see that this area isn't as clean as it could be. So let's fix those UVs that are poking out there. If we switch to edge mode and UV edges, we can grab that dodgy edge and we'll find where it's located on our model. Then with that unnecessary edge selected, we'll hit UV weld, which will weld those together like so, and get rid of that bit that was sticking out. So things are a little bit cleaner. Then I'll just go ahead and do the same on all of those. And we'll try to export our maps again. Okay, now that's fixed. Let's try baking are sculpt objects again. Let's head over to the Options tab and will enable displacement, normal and ambient occlusion maps. And over in settings. Just make sure your settings match mine. And I might also increase the super sampling on the ambient occlusion map. So it's a little bit cleaner. And now we can hit bake, to bake these maps out. K. After the maps have been baked out, Cinema 4D creates and applies a new material to our modal, which you can find down here. And you can see that's linked up all of those maps automatically. And if we click Locate image on one of those, we can find them on our computer. And you'll see if we open one of them like the normal map, for example. All of that sculpting detail has now been captured in these maps. And here's the displacement map and the ambient occlusion map. And we can use these maps to generate a higher level of detail on lower resolution models. So we can animate a much lighter version of our model. So if we click into our sculpting tag here and on the show layer manager button, we can set this to our lowest subdivision level, which you can see has a lot less geometry there now sculpted model. And if we right-click and choose current state to object, will get a separate low-res version of our model. And we can delete this old one, will reapply our material and I'll catch you in the next lesson where we'll start texturing our spider. 6. Texturing: So we're going to be using body paint to texture. I'll splatter up, which thankfully is included in cinema 4D, because we'll be painting right here in the Viewport. I'd recommend using a PBR material as it's going to give us the best level of detail directly in the viewport. So let's bring one of those in. And we need to bring in the texture maps from the material generated in the last lesson. So let's go to the normal channel and we'll copy this texture and beckon our new PBS material. We'll paste that into the same channel, like so. Then we can get rid of these for now and apply that to our model. Before we start painting, I just want to make sure that that normal map is looking right on our new low-resolution model. And on closer inspection, you can see we do have some weird edges going on down here on the sides of our spider. And I'm guessing this will be corrected inside our subdivision surface, which definitely helps. But I do like to keep our low res mesh looking as smooth as possible. So we'll go in there and tidy that up in just a second. But first, I just want to quickly set up our other channels. Let's enable the reflectance channel and disabled the direct diffuse in here so we can control the color over in the color channel. Instead. We'll take a quick look at this under different lights. And we'll definitely need to fix this. But we're also not seeing as much detail as we showed from our normal map. So let's go back to our material and under viewport, we can change the texture preview size to no scaling. And now we can see that detail at its maximum resolution in the viewport. Let's fix this crease here and we can start painting. Let's grab our sculpting brushes again and select down model. And what is smooth this out a bit like so. And we get rid of the floor now. We'll switch to our body paint layout over here. Then we'll turn off that light and get rid of those harsh shadows, which will make painting this a little bit easier. And now we can fire up our body paint setup wizard. And we want to apply this only to the low-risk spider model and the subdivision surface and into the PBR material like so. Then we'll hit Next. And we've already set up our uv maps. So let's uncheck, recalculate UV and go Next again. Let's set our resolution to four k by making the minimum and maximum size 4096 pixels. And make sure our normal and color channels are selected. And we'll hit Finish and close that up. Then we'll make sure our model is selected. And we'll take a look at the layers tab and the colors tab. And you'll see at the top here, we have our color and normal channel that we selected in the body paint wizard. And we can now view those maps over here, under texture. And here's the colormap that we can paint directly onto if we need to. And we can easily switch to the normal map and paint directly into that channel to if we want. But let's start with the color channel, which I want to fill with a black color to begin with. So back in our perspective view, Let's head over to the Layers tab and add a new layer by right-clicking here. And we'll fill this layer with black. So back under color, I'll choose a black color that I've actually sampled from our reference image. And I'm just input those values here and you can follow along with the same color or pick any other base color you like. Then we'll grab the fill tool and fill our color channel with the selected color by just clicking on the model. Okay, so now that we've got our solid black base layout, Let's head over to our Layers tab. And we'll make a new layer. And we might just hide our base layer for now so we can concentrate on painting our new layer. Then we'll go back here and grab our brush tool. And I'll just pick a slightly lighter version of our black base color. And if we click on our current brush, we can choose a different brush shape. So let's go with the spotty brush here. And I'm going to use this to paint some imperfections onto our spider, which should help break up that solid black color. We might adjust the size of that brush as well. Then we'll just go ahead and paint these dots all over the model. We can also switch to the Texture tab and paint them directly onto the UVs. And this way we won't miss anything in the brush won't be obscured by the legs or any other part of the model. Then I'll just go ahead and cover the whole spot out with a nice variation of dots. And as we go, I'll probably tweak the brush size and pressure as well to make it look as organic as possible. So follow along while I do this or feel free to skip ahead because I think this might take a little while. Okay, Let's go back to our layers and show our base color again. And I'm not sure how well you'll see this in the recording as it is quite subtle. But I definitely think this is looking more organic. And I might even do one more pass with a larger brush size. Let's go back to texture view. And we'll paint the biggest spots across all of the UVs. I think that looks good because I want to try and get this looking as close to my reference image as I can. We might just add another layer in here to do a little bit of layer blending. Let's get a slightly bluer color in here and fill that layer as well. Then I'll move this down under the base black color. I'll set the blending mode to dissolve. And I think this gets us a bit closer to the reference. And I might even drop the opacity of that layer as well. Again, this is very subtle, but I do think it goes a long way in creating realism. And I definitely think that's looking more like insects, skin or exoskeleton like. We could also try setting our dots to dissolve as well. Okay, let's go over to materials and open that up. Then in the color channel, Let's click and drag this map over to the bump channel, like so, and activate that. And let's now giving us a nice bumpy surface over our model, thanks to the dots that we paint it in. But rather than having those bumps outward, let's bring the strength slider to a negative value to invert that. And again, I think that's looking more like the texture of an exoskeleton. So I'm happy with that. Said, let's move on to painting the red markings on our spider. I've added another layer here above our dots in the color channel. And I'll bring up a reference image of those red markings under the spiders belly, which as you can see, a kind of an hourglass shape. And I've also done a quick mock-up of that shape in Illustrator. So let's bring that in as well. And before we paint this onto our spider, I just want to make sure we don't have any harsh shadows. So let's disable that light as well. And also the subdivision surface. And then we'll head back here and I'll grab the eyedropper tool and sample that red color. And we'll switch to the bottom view of our model. Without selection tool here, let's draw out a box that roughly corresponds to the shape in our reference. And we'll fill that with red. Then we need to cut out this shape. So I'll grab the eraser tool and switch to maybe this brush. And then we'll just start cutting into the sides of this. And if we grab the move tool, we can even move this around if we need to tweak the position, which is pretty cool. So I'll just go ahead and shape that a bit more. Then if we grab the selection tool again and right-click out here to deselect that shape. Just make sure I didn't miss anything along those edges. And I'll go back to the Paint tool and extend this read out a bit. And we'll just try and blend these edges in a bit more with the eraser tool again. And actually, I might just sharpen those edges up as well. So I'll just go ahead and find tune this and then we can work on the normal map. Okay, I'm happy with that. Let's go back to our UVs and we'll work on the normal maps. So let's select the normal channel over here. And we're going to do things a little bit different here in the normal channel. Let's come over here and switch to texture paint. And we'll select a texture. And I'll just never get to a normal map down the bottom here. And let's just preview that. We're going to use this skin texture to give us something like this in our reference image. So let's close this and bring that in. And still without normal channel selected, we'll go back to our perspective view and just start painting this normal texture straight onto here. We start to get a bit of a wrinkled skin effect, which I guess is a little bit different to the reference, but I think it's gonna be close enough. We can definitely get away with a bit of creative license here. So I'll just go ahead and paint this in. And we can also scale and rotate this image. Let's rotate it a tad so the wrinkles go in the other direction. For a bit of variety, Let's try scaling it as well. And we can also try painting this with a different brush. Okay, I think that will do. So. Now let's work on the red stripe down the spiders back. And we'll use these images for reference. Let's make a new layer again. And make sure we're now back in the color channel. And here in our back view, we'll draw out another rectangular selection. And we'll fill them with the same red that we used before. And we'll switch to the top view. And I'll just add to this by holding Shift and dragging out another rectangle. And we'll try and create that arrow shape here. So I might just add another bit in here. And now with our Eraser tool again, Let's start painting in that shape. And I'll create that arrow shape here. So I might add another bit here. And we'll start blending in those sharp edges. And this is going to be pretty much the same technique. So again, feel free to follow along or skip ahead. Okay, So let's add some wrinkles to this as well. Over in the normal channel, where we will create yet another layer and check that we still have texture pain active. And we'll go ahead and do that as well. So I'm going to get a bit creative here and add a slight skull shape to the stripe just to make our spider look a bit more intimidating. So on another layer in the color channel, let's add an image to our Texture Painting mode. And we'll grab this goal. Then with our brush tool will start to paint that image on like so. And these images will actually repeat across the surface of our model. So we might need to paint down here to uncover that skull is the full-scale now. So let's grab the eraser and paint out those other bits. Then we can grab the Move tool and just reposition this wherever we like. And I want this at the tip of that stripe. So about there. Then to make this nice and subtle, Let's try another blending mode. Maybe darken. And I'll just try and get the eyes within that arrow shape. There. It looks good. Alright, looking at another reference image, if we zoom in here, you can see the spiders skin and the joints is a little bit thinner and lighter colored. Let's also do the same to our model. So back in color mode, let's sample that color. And on another layer, Let's start painting in-between all of the joints, which again will take quite awhile. So hop ahead if you like or just follow along. And it's probably easier to paint a lot of this directly in the UV texture view, like so. So we'll go ahead now and paint all of these. At this point, I'll also start sampling different shades of color from our reference images and layering on some more variation. And again, this can be a very time-consuming process, but I will need to go over the entire model. And now I'm just going over it again and trying to blend the red markings in a little bit more K. So that's the color channel sorted. So now grab the skin normal map again and start painting into the normal channel. And I just want to add these wrinkles to the areas of the skin that might be a bit more flexible, mainly around the joints again. So I'll just go ahead and run this over the whole model as well. Alright, so I'm pretty happy with our texturing now, but before we finalize our model and start ringing and up for animation, I also like to do a quick run over our model with the sculpting brushes again, just to make sure I'm happy with those final forms. And this will completely depend on your own taste. But I personally just want to tweak some of these joints. So we'll go ahead and do that. And I'll see you in the next lesson. 7. Rigging: Okay, so now that our spot is all textured up, Let's get her ready for animation. We'll start up here under the character menu, where we'll bring it in. A character object. In cinema 4D has a whole bunch of handy templates in here to speed up our rigging workflow. So as our spider is an insect, Let's go with that template. And that suggests we start with the thorax component down here. So let's do that. And if we switch to the side view, you can see that that's given us a very small bone to start with. And the thorax should be more or less in the center of our spider. So I'll just scale the model down and position that bone right in the middle. Let's also check the top view, which is quite a bit off center. Let's see if we can fix that by zeroing out the x-axis of our modal. Close, but not quite. But we can easily fix that up under Mesh and access with the Access Center tool. Then with the default settings here, we'll just hit Execute and that'll put that excess right in the center of our model. Then we can make this 0 again. We're now in line with that center bone. So let's add our other bones now, let's click back on the thorax and we'll add a head bone, which is almost perfectly where we want it. But let's just move our spine that down a tad. And a little bit over as well. Then I want to 0 out the coordinates of our model over here. Under freeze transformation. Let's freeze all n. Now these are all set to 0. And we'll set up our next set of bones from the head, and now we'll add the mandibles. And this is definitely not in the right place. So let's switch to adjust mode. And we'll move that over here. And we want these points to correspond with the actual mandibles on our model, like so. And will need to make sure those line up in the top view as well. And we'll just check back in the site again. Now that that's in place, I'd like to check on the bones being generated by this, by switching to binding, which does tend to break things sometimes, which I think is due to us freezing the transformation earlier. But we do now have all those bones generated over here. Now we're getting there. Let's just go back to adjust mode and fix the placement of these. I think we can adjust all of those components while we're here. Let's put this back at the end of the thorax area and center this one a bit better. And just tidy the mandibles up again. And now if we switch back to binding mode, that seems to fix that and all of our bones are looking good. So let's go back to build mode and finish adding the components. Let's now add the abdomen, which can accept at the back here, as you'd expect. Then to position this, we just need to go back to adjust and make this follow the arch of our spider's abdomen. And I'll finish down here at the tip. And switching back to binding will reveal those bones. Alright, so now let's move on to the legs. And I've got a little diagram here of the joints over spiders leg for reference. So back here in Build mode, Let's add a leg, which does bring in two of them like this. And if we go to adjust, we have symmetry on by default. And you can see that all of these match up with the diagram is the coxa, the femur, the patella, etc. So as long as we modelled our spider correctly, they should all match up. Let's switch to the top view and start getting these interposition. And we'll have them start at the base of the front legs here. And I'll just go ahead and put the rest of these points along the leg at each joint. And this last one should be for the claw at the end. Then we'll switch to the side view and make sure all of these match up here as well. And it's probably worth checking one more time back in the top view. Then we'll switch to binding mode to check on the position of the bones. And I think we're a little bit off. So let's just go back and tweak that again. You might have to do this a few times until those bones match up perfectly with the geometry. So I'll just go ahead and tweak these. And I think I'm pretty happy with the placement of these now. So let's add the rest of the legs. And this is going to be a fairly long process. So follow along or just skip ahead to the next section. Okay, so now that we've got all of these legs setup, let's add another set of mandibles for her fangs. And back in the top view, we just need to get these into place as well. So back in adjust mode. Let's move this up to the front of the head. And again, I'll just go ahead and get this setup. Okay, so now that we've got all of our bones in place, let's hide the modal and take a look at our rig so far. And you can see we've got a bunch of green lines under the legs indicating that the IKEA's have already been set up on those. But if we zoom in here, we'll need to add IKEA's to the mandibles manually. So we'll set that up. But I just want to make a few changes to the display. First, if we switch to the Animate tab, then display up here. Let's set visible too full. And under manager's. Let's also make that full hierarchy. And now we'll be able to see all those bones. And the control is in our rig. So we can select all the bones and will change the bone display to box, which I think is a little bit easier to see. Then let's turn these mandibles at the front into IKEA's. Let's select that first bone in the hierarchy, which is this one. And we'll right-click. And under rigging tags, we'll add an IK tag. Then we'll need to tell this where the change should end. So we'll click on this selection arrow and choose this bone at the end of that hierarchy, which gives us our green line indicating the IK has been set. Then we'll add a goal controller, which gives us this null object here at the end of our hierarchy. And to make that a bit easier to see, Let's set the display of this to be a cube. And scale that down. And now we can easily grab that goal and move it around to control that IK chain will undo that. And I might just make it a tad smaller. Then I'll just go ahead and do that exact same thing to the other one. Just so they stand out a bit more. I'll also turn on the display color and make them red. And the same for the other one. To finish up, I might just scale up the goal at the end of the abdomen here. And we'll bring back L mesh. Then if we grab the character object again, we can now switch those displays off again. So Object Manager back to none. And we'll just show the controllers back in here. And now we need to sort out our spider's eyes. Let's grab those and move them up here. They've actually popped out of our spot up because we've scaled it down since modelling everything. So we'll have to scale those down as well and move them back into position. I might as well just switch to access mode and move the axis a bit closer to the eyeballs. And that should make getting these into place a little bit easier. I'll also turn the lines on in our viewport. And I want to rotate the eyeballs so the poles are pointing outward. So let's grab this and rotate them 90 degrees. And now we'll be able to see the direction they're pointing in. A little bit easier. But we will need to put these back into the eye sockets. So let's just sort that out to just be careful of the hierarchy. We can probably move these out for now while we do this. Okay, let's create another PBS material for the eyes now and apply that to the symmetry object. And we'll go in there. And in the reflectance channel, Let's turn off the default diffuse. And we'll add a reflection layer. And I want these to be shiny and black. So let's bring the brightness down and maybe the roughness as well. That's looking nice and creepy. So we'll switch the lines off again and we'll take a look at this with the subdivision back on. Okay, I'm happy with the eyes. Let's grab all of this and right-click. And we'll merge everything together with a connect objects and delete. And now we're left with a single object. And let's just make sure that material is applied correctly. And we'll move it up here as a child of our main mesh. And we could actually merge that into our main meshes well, by grabbing them both and connect and delete again. And now that we have our single mesh, we can go ahead and bring this into our rigged bones. So back in the character object under binding, let's drag our spider mesh into here. And now if we switch this to animate and try to move one of these controllers. You can see that the spider mesh has now been bound to the rig and follows along nicely. So all that remains to do is check them are binding is correct. So let's turn off the subdivision surface again and switch views. Let's try another controller. And here you can see where that binding isn't perfect. This is influencing the leg as well. And same over here. So we're going to need to refine the binding so that each controller affects the correct area of L mesh. So back in display, let's make sure we can see the full hierarchy again. And we'll grab all the bones in the legs and set the display to line. And now we can come up to the character menu. And under management, let's open up the weight manager and we'll just move that over here. Will also need to come back here and grab the white tool. And now we can see which parts of our model are being influenced by each bone. And straight away, I'm seeing too many different colors on the abdomen. So let's start by fixing that. Let's activate point mode. And I want to isolate the selection to the abdomen only. So let's switch to the Lasso selection tool as well and switch views. Then I'll just grab a chunk of the abdomen, like so. Then up in our selection menu using gross selection, which is you then Y on the keyboard. We can press that a few times and grow the selection until the whole abdomen is selected. So about there. Let's check in the perspective view. Not quite hit you and why a few more times until it's right at the end there. Now let's look for the abdomen bones in our weight manager, which is here. And this hierarchy corresponds to all of these bones. And these are the only bones that should influence our current selection. Let's grab all of those. And under auto weight, we want to weight this by selected points. Then we'll just click Calculate. And to check that's worked, let's make sure we're in object mode and we have our mesh selected. And we can just go back to our recently used tools and grab the white tool again. And now the abdomen is a single green color. And if we re-select our model again, we can see all the influences. And the abdomen is now only affected by the abdomen bones. So that part's all sorted. But I can tell by all the color bleeding into the thorax area that this is also going to need some work. So let's do the same thing here. Back in point mired. We'll use the rectangular selection tool this time. And we'll grab the center of the thorax and again u and y to extend the selection all the way out. But unfortunately that's not quite selecting what we need. We've missed the sides here and we're already extending into the legs as well. So we might need to do something a little bit different here. Let's use Edge mode. And we'll try cutting around the legs like we did back in the UVs lesson. And I'll just do all the legs on this side of the body. And also around this. Then I'll mirror the selection. And we also want to cut away the abdomen. And it looks like I might have missed a bit on this leg as well. So let's grab that too. Then to select, this whole piece will go to select and fill selection. And now we can select everything within those edges, which selects the whole thorax area. So we'll convert this selection two points. And actually, I don't want things to be included in this. So let's just go back and cut those away as well. And mirror that across. And fill selection again. And now endpoint mode, we'll go back to our weight manager. We want to bind this selection to the thorax and head bones. And auto weight that as well. Then white tool again. And object mode. And that binding has now also been corrected. And unfortunately, we need to do this for the rest of the model as well to get all of the limbs bound correctly. So I'll go ahead and do that. But as usual, feel free to skip ahead. Okay, that's done. So at this point, we need to start testing el binding with some animation so we can make sure our mesh is deforming correctly. So let's go back to the character object. And under object animate, Let's add a walk cycle, which adds a C motion animation to our rig. And now if we hit Play, now spiders starts to walk. But we can get an idea of how that mesh is deforming. And I do think the blending between the limbs is probably a little bit too sharp, which doesn't look all that realistic. So to smooth that out, Let's go to the commands tab in our weight manager and make sure we've got our mesh selected. And we'll run a smooth operation over L binding at 100% strength, which helped a little bit. But let's try smoothing again. And again. It's a bit better, but we might need to go back to our weight tool and manually smooth this out. With the mode set to smooth, Let's just start blending these together a bit more. I'm actually going to take quite a bit of time with this and make sure all the limbs are smoothly bound to our rig. So again, follow along or skip ahead because this might take a little while. Okay, So this is definitely looking better, but we are still getting a bit of popping around these joints. So the binding could still stand to be a little bit smoother if we wanted this to be perfect, which we do. If we open the weight manager again, we might be able to see the smoothing a bit easier by selecting Burns in here to isolate the blending on each bone. And we can just smooth those out like so. Another thing we can do this smooth this out is with our sculpting brushes. I find running the smooth brush over the joints at this stage can also help with the popping of the mesh. Let's go round and smooth these joints out while keeping an eye on that animation. And finally it to really perfect the binding. I'll even go through bone by bone and make sure everything is looking correct and as smooth as possible. And you can see here, we've actually missed a patch when we expanded the point selection earlier, decided to paint that back in, we just need to set our weight tool to add mode instead of smooth and just paint that in. And of course everything needs to be smooth. So I'll switch back to the smooth mode again and sort that out. Then onto that next bone. And it looks like the auto waiting hasn't given influence to this whole section of the mesh. So we also need to paint that in as well and also smooth it. So that's pretty much the workflow for doing this. So I'll just go through and really fine tune it. So follow along if you need the help. Otherwise, I'll see you in the next lesson where we finish up by adding some animation. 8. Animation: So before we start animating our black widow spider, it's probably a good idea to take a look at some video reference of spiders walking. And you can find loads of clips online with a quick Google search. And these are a couple of the clips that all be basing our animation on. So have a good look at some reference, and let's hop back into Cinema 4D and do this. Alright, let's start by clicking on the sea motion walk cycle animation we added in the previous lesson. We wanna be able to see everything hidden away down here. So let's click on this plus icon to make a duplicate of this window. We can make this full screen. Bring this down to reveal all the sea motion object controls. And basically see motion allows us to cycle animation on any parameters we choose. We can see all the parameters of our rig that are currently being animated in cycled down here. And these will match up with the different parts of the rig that we set up in the previous lesson. So if we minimize this and just move it over here, we can play that walk cycle back, which is very subtle and very slow at the moment. But we can then control each bone separately from here. If we click on this icon next to the back right leg, you can see that that legs stops moving or is no longer receiving that cycled animation. And we can just reactivate that by clicking again. And I find the naming of these parts in here. It can be a little bit confusing by default. So I'd like to turn everything off and go through each part individually and just rename these to something that makes a little bit more sense to me personally. So if we grab this one, we can see that that's the front left leg. So we could call it front left leg one if we wanted to, or L at leg one or even L1. Mattea originally recorded these videos and Portuguese. So we've actually set the naming convention with E and D for left and right, because this is left and right in Portuguese. So if you do get confused with our labeling, just remember that E is left and D is right. But again, feel free to name these, however, makes most sense to you. Let's reactivate leg D1, which is right leg one, A2, which is left leg to D3, which is right leg three. And finally E4, which is left leg four. So we've selected alternating legs along the body or each second leg on both sides. We're going to re-time the motion offset of each of these legs by adjusting the phase to negative 20 for each of these alternating legs. So I'll just set that on all four. And we'll take a look at what that gives us. You can see those adjacent legs and now moving in tandem in the walk cycle. But they are moving slow. So to increase the speed, we need to lower the time value here, which controls the speed of the cycle. So let's drop that down to 12 frames per cycle. And if we play that back, those legs are moving a lot quicker. So now we just need to set up the remaining legs. And to have the correct offset, we need to change the face value on the remaining legs to 20 instead of negative 20. So let's do the same for the remaining legs that are currently set to inactive. Now we can reactivate those as well. And we'll play that back. And I think this is a bit closer to how a real spider moves. And if we change the walk type from static to line, we can see how that cycle looks on our spider when she's actually walking along in a line. And I think that's starting to look pretty good. So let's set this back to static. And another thing we wanna do at this point is over in the side view, we just want to make sure the spiders legs aren't going to poke through the floor during the walk cycle. And you can see if we zoom in here, these legs need to be up a bit further, so they're resting on that ground plane. And you can actually use a cool free plugin to quickly align these to the floor, called drop to the floor. And I'll put a link to that down below as well. Basically, it will give you this button here, which when clicked, automatically aligns the mesh to the floor. Let's just do that for all of our legs quickly. And we'll also need to reposition the feelers as well. And these can go a little bit above the ground. And we'll just finished a lining those legs. Let's enable see motion and see how that looks. And now the legs aren't going through the ground, but it also looks like they're not bending enough anymore. So let's go back to see motion and tweak that. And below each one of these controllers, we have a lift control, which is going to allow us to adjust the height in which our legs can move or how far they lift upward. Let's try increasing this value to 30 on our front left leg. And you can see that's now lifting up a bit higher than the other front leg. So I'll go ahead and change the lift to 30 centimeters on each leg. We'll go back here and see how that looks. Alright, we're definitely getting there. Let's start adding in some secondary animation to give our walk cycle a bit more realism. If we grab the hub options controller here, we can start layering on some secondary motion to our rig, which will affect more of the whole body or center of mass. We can choose from a list of actions here. And we'll just go from the top to bottom starting with shift. So let's add that. And if we hit Play, the shift action is going to shift the center of our rig left and right to mimic that swaying of the body while walking. And we can refine this in the options over here. And I think it should be a bit more subtle. So we'll drop the shift in the x-axis down to two. And I think that looks a bit better. We can also add a bit of variation as well so that it's not such a linear back-and-forth. Okay, let's layer on another action. This time we'll add some lift to the body and add that, which puts it down here in our list. We can isolate just airlift by disabling the shift like we did before with these arrows. And I think the lift is a bit too intense as well. So let's take a look at the options. We can actually change how this motion blends with the overall animation by changing this blend value, which is a little bit different. I think we'll try the ad blending mode and adjust this further by decreasing it in the mix to make this even more subtle. And let's see what that looks like with the shift. And I think we might mix these together a little bit more. Let's lower the mix back in the shift action. And it might be easier to see this if we hide those controls for a second. And I think that's starting to look a bit more realistic. So let's add in the next action in our list, the push and Add. Then we'll just isolate that to see how the push affects things. And it doesn't look like it's doing anything actually. So let's take a look at the settings. And it looks like everything is zeroed out on this by default. Let's click here and add a point to our frequency control and lift this up. Then we can control the intensity here. And you can see that it's now pushing our spiders body back and forth. So let's just dial this in until it looks a bit more realistic and adjust the mix as well. And we can tweak the frequency as well by shifting this around. Then we'll see how that blends with the other actions. Okay, looking good. Let's add the next section, which is now the pitch, and will disable the others. So we can see only this effect. And again, we'll need to start by adding a frequency and adjusting the intensity. And you can see how that's tilting our spider, which is what the rotational pitch does. And we'll try that. That's looking nice. Let's see it with the other effects. And we're slowly building up that realism now. So again, we'll turn these off and grab the next one. Twist this time, which does exactly what you'd expect. And twist cell model, which is quite cool. So you could even make it do a little dance if you wanted to. But we'll just do the same again and blend this with our other effects. Nice. And suddenly, you can probably guess what we're going to do next. Let's add in our final action here, roll. Which roles are rig, left and right. And I want this to be subtle as well. Okay. So let's see what it all looks like together. Okay, almost done. I think. I might just adjust the stride as well, which is the distance of each step our spider takes. If we increase this, you can see she's taking longer steps with each leg. So let's switch this to line and see how that looks when she's walking. And I think we've got some more spider-like movement happening now. So let's set this back to static. And I think we could probably make this look even better by adding some secondary animation to the abdomen and the rest of the body. So let's go back to our emotion again and disable everything except the abdomen Control Alt down the bottom here. And with that selected, we can actually add an action to the abdomen controller as well. So let's give it a shift action. I want to have the abdomen swinging a little from side-to-side while she walks. So let's make some tweaks here. And that's wiggling a little bit now. So we'll just draw that in a bit more. Let's also come back here and add a Push action. And we'll use this to have the abdomen move back and forth, which looks like that with the shift. And I don't want this to push up too much, so we'll fine tune that as well. I think that works. Let's also add some motion to the head controller. Let's give that some pitch, which should make the head bob up and down a bit. Let's add that and make some tweaks. And then she goes, and it looks cool. And again, we'll make this nice and subtle. Then we'll see what all of that looks like together. And at this point, I'm just going to go through and refine all of these settings to make sure it's all working together nicely. So follow along or skip ahead. Okay, Let's go back to line mode and take a look at her walk again. I like it, but I feel like those front legs are reaching out a bit too far. So let's switch to the side view. And what is grab the front leg controllers and bring them back a bit and a bit of an those front legs. And I think that's a bit more spider-like because they feel around with those front legs, don't they? And speaking of feeling, Let's move on to the file's back to static mode. You can see those feelers aren't doing too much at the moment. And we shouldn't actually call them feel is the scientific name is actually petty palps. So let's see if we can find them in the list and add some motion to those as well. And we've got the mandibles down here, but we actually need those goal controls at the tips that we set up in the rigging lesson. So let's see if we can find those in our scene. And it's these two nulls here that we need. So let's grab this one and drag it into our list. And you can see that going on in the viewport. And it's called the tibia at the moment. But let's just call it P1 for petty palps, one, to keep things scientific. And we'll bring the other one in as well. And name that to P2. We need these set to be driven by the hub because they're attached to the head and not the legs. So they'll adopt the movements of the body instead, which looks like this. So add a bit of Sway to those as well, starting with a shift action. And that's now swaying side-to-side. So tweak that a bit. And I think that looks good. Let's copy this time and paste it on the other filler. Then, so that's inverted. We'll set this to a negative value. Then we'll add another action, this time a push. And this controls the front end back motion. I'll just try and get this looking nice and natural as well. And copy that over to the other one as well. And inverted. And for variation, Let's maybe give this one some slightly different values. Okay, let's layer on one more action. Let's go with lift this time. I think you probably understand the workflow now. So I'll just go ahead and finish setting this up. So follow along or skip to the next section where we'll set up these secondary animation on the fangs. Okay, let's move on to the fangs, which correspond to these bones over here. But we didn't add a controller or IK chain to these back in the rigging lesson. So let's quickly do that now. So at the root of the bones on that right thing, Let's right-click. And under rigging tags, add an IK tag. Then we need to pick a goal, which will need to be the last bone in the hierarchy here. So we'll click that and add goal. Then we'll grab the newly created goal now, which is right at the tip of that thing. And I'll just change the display of this two sphere. And if we go back here, Let's give this a different color, maybe a nice bright blue. Okay, so that's one thing done. Let's do the other one. Grab the top bone, right-click rigging tags, IK. Then we'll click the arrow and choose the n bone and end goal. And we'll make this blue as well. And a sphere. Okay, let's go back to our C motion controls. Or grab that left Fang goal and drag that into here and rename it to J1 and have it driven by the hub. Then we'll do the same for the other thing. Let's see what the animation looks like. It looks a little bit funny actually. I don't want the fangs moving around with the rig so much. So maybe we'll set the driver on both of these to none instead. Okay, that's better. Let's just add our own animation to those fangs. Grab the first one here. We'll add a lift action. And I want to have things to lift up and down slightly as she walks. So let's drop this down to 0.5 and maybe decrease the mix a bit as well. Let's copy that from that thing and paste it to the other. Okay, let's go back to this one and add another action shift this time, which will swing the facing side to side. Let's make a few adjustments here. Again, I want this to be fairly subtle. That's fine. Let's copy that to the other one as well. I'll just invert that value. And I think that'll do us for now. You can always come back to see motion and refine the walk cycle if you need to. Let's just add a floor to our scene and turn on some lights so we can get a good look at how our spider is moving. And we'll switch this to line. So she actually moves across the ground. And I think we're good with the walk cycle now, but I just want to make sure her body isn't going through the ground plane. Now that we've added the secondary animation. So let's switch to the side view. And indeed she is poking through there. Now, let's disable the sea motion object. And we'll just lift our main controller up a tad and re-enable that. That's looking better. I k, So that's the walk cycle all sorted. Let's now see if we can set a path for our spider to walk along. Let's get rid of that floor and disable the lights again. And we'll turn geometry only off in the viewport. And we'll start by having our spider walk around in a circle. So we'll come up here and bring in a circle. And we'll need to change the access and scale it up a bit larger. Then if we grab our C motion again and pop that out in a new window, we need to change the type to path. Then we can select the path with our arrow here. We'll choose the circle and straight away our spider locks onto that shape. And if we hit play, she starts walking along the path of the circle. And we can easily adjust the speed she's walking along this by increasing the stride value. And she's walking a bit faster now. We can fine tune this further over in the pose tab. Firstly, down here, we can set the direction of the walk. And if we change this to x, for example, we can have our spider walking sideways. So maybe if you decide to make a crab instead of a speedup, this could come in handy. We can also change this to Z and have her walk backwards if we wanted to. Let's just put that back to negative Z. We can even control each footstep if we needed to. If we zoom in, you can see this leg looks a bit funny back here. It's probably outstretched a bit too much while she turns the corner. But we can tweak this easily over here in the steps tab. Or we need to do is link this up to our circle as well. By grabbing the arrow and selecting that as well. Then we just need to hit Create steps to generate the steps along the circle. But we also just want to make sure under pose, we've got the alignment set to 100 per cent. So the spider follows exactly on that path. Then back here, let's create those steps. And that generates all the left and right steps I'll spider makes on her journey along the path. And what's really cool is that we can grab any of these and adjust each footstep individually so we can really fine tune the walk cycle. So we can easily correct that stretched out back leg by just grabbing that snip and bringing it in a bit more. And now just that step has been corrected. So we can have our split out walking over pretty much any terrain we want. So I'll just go ahead and fix that back leg for all those steps. I think that's looking much better. Okay, so let's try and have our spider walk across a 3D shape instead. If we take a look up the top here, these are all the steps that see motion has generated for us. So let's just grab all of these and delete them. And we'll bring in a 3D primitive for our spider to walk around. So let's go with a sphere. And we want this to be nice and smooth. So we'll increase the segments first. And we'll scale that up nice and big as well. Then if we go back to our emotion walk cycle and over to the root tab this time, we can choose a 3D surface to walk across down here. So again, with our arrow selector, Let's choose our sphere. And the rigs a bit funky there. So let's enable a line hubs. And as easy as that, she's now walking around the surface of our sphere. And we've got a few other options down here. We can tweak with this. Firstly, if your spider isn't aligning with that surface perfectly, you can try toggling a line tangents on and off to see if that's any better. I think in our case, we'll just leave that on. We can also offset the model from the surface if we have any intersecting by enabling Min distance and just tweaking that offset. But I think our spot is looking pretty good. So let's leave that off as well. We can also scale our sphere up if we like, and I've spread out will stay stuck to that surface, which is quite cool. Let's make our sphere editable by clicking over here again or hitting C on the keyboard. Then let's see if we can find soon these footsteps like we did before and stop these legs stretching out so far. At this point, I'll spider is still following our circle because we set that back in our scene motion before, which is why the spider is still walking around as sphere in this circular motion, we only deleted the steps before. So let's go back to the walk cycle again and over in these steps tab, Let's create steps again on our sphere. This time, we'll grab our arrow picker again, and this time we'll choose the sphere and create steps. And now we can do exactly the same thing again, but across our sphere instead. And it can be a little tricky to select these steps when they're on geometry. So let's go to the Select menu under selection filter, let's disable polygon selection. And now we should be able to grab those steps a bit easier. Go ahead and tweak these like we did before to correct those overstretched legs. So follow along or skip ahead. And there we go. Let's hide our rig now by showing only the geometry. And we'll throw that white material on our sphere and pop out light back on. And we've now modeled textured, rigged and animated are black widow spider. So big, thanks to you for making it this far. And now that you know exactly how to do this, you can take these techniques and create your own black widow or eight-legged character. So let's finish up in the next video where we'll give you a few ideas for your course project. 9. Class Project: So now that you know how to modal texture rig and animate a black widow spider in Cinema 4D, it's your turn to create something cool with your new skills. So you could create your own black widow seen maybe something like this, or try a different kind of spider or a different type of creature altogether. Or you could try thinking outside the box completely and create something like this. We've included the downloadable project file to give you some ideas and help you get started. And if you make something cool, don't forget to post it over on our Facebook group. And if you enjoyed the course or have any feedback, feel free to leave a review. Thanks again for supporting CG shortcuts. We'll catch you next time.