Transcripts
1. Class introduction: Hi, everybody. I'm corpulent middle art director and illustrator. I enjoy experimented with images every day. You can follow the results of my visual experiments on Instagram, where you can find me a short. This is my second glass here and skill share on the idea behind it is to get you through the process off grading on illustration similar to this, we will be focusing mainly on achieving this sort of explosion effect that you can see below the object on. We will be using Cinema 40 to play around with objects and displace er's to create that sort off topographic effect on, we will move forward to photo shop to at textures and final touches to the image and make it look more like a foster. By the end of this class, you'll master this tools to create your own abstract designs. Blind this effect perfect to green on. Hang on your walls or to use us a world paper or element on any off your illustrations off . Let's kept some fun, creating something you hit and roll and see you in the next video
2. Create a composition | Cinema 4D: thanks for joining me on this class. I'm on cinema. 40 are 16. You can use an abortion off the program. We're going to be dealing with very basic functions and objects off it. I'm running it on a Mac, but you can also follow this class on Windows. It's gonna be pretty much the same. And the first thing that I'm going to do it's to grab an object from this list. So, Glicken holding this, I can, uh, and you're gonna get a list of objects to start with. You can go with anything you want from here. I'm going to choose a Blaine. Um, and I need to make it bigger. So don't here on the properties off the object, we're going to go to the object AB and then go like 600 with and hide 600. It's going to be OK on. Then. Make sure that this place is this place set to quick shading lines in order to see all the segments that are composing this object. Uh, and right now there are 20 segments with an 20 on height, but winning more in order to have more definition. When with a form this plane. So I'm gonna go with 101 100 here. Uh, you can play with other barriers, feel free to input anything and and see what happens then to the form the plane. What we need is an affect your so you can grab at this place. Er from this list, click and hold on this I can and make sure to hold the shift key while selecting this placer in order to make eat a child off the plane, the defectors need to be child's off the objects that are affecting. So now I'm gonna go into the properties of the display, sir, and to make it work, it needs a shader. So as a shader, I'm gonna choose noise and what is happening now It's display, sir is taken This source image this pattern, um, as a source to deform this object. So the darker areas here are going down on the lighter areas are going at just like Montaigne picks and valleys. And what you were going to do is here you can by double clicking on the on the pattern, you can edit the properties like the global scale, which is the size off off the dots on the pattern. Um, I'm going to try some saying a little bigger, like 1 50 And you can also mass around with the seed. Uh, there are plenty off the friend variations off the pattern. Uh, you can go with anything you like here. I'm just showing you how it works. Ah, and we need to make this effect even more strong on dramatic. So what? I'm going to do it. So I'm gonna go to object up and crank up the strength to lag 400 and they hide to 60. And now we can see that the plane is completely deformed, but we have very sharp edges and and sharp geometry that I want to smooth out and make it look like more liquid. So the way to do that is by selecting the plane here and grabbing a subdivision. Sir face. If you hold the out key on your keyboard on a micro pc, you are going to place the subdivision surface on job off the blame sort of blame. It's going to be a child of the sudden subdivision surface on here. You can see what happening. Ah, the subdivision surfaces going to sub by the Mulligan's that composed to plane to make its shapes more smooth and organic. It will also increase rendering times a little bit that I think this will look much better by something biting the surface. Ah, no. We can use this Aikins to, uh, move around your scene and and crop it properly like this one is to move it around. This one is too soon and some out and the third ankan it's to rotate the seats. So I'm gonna leave it here and in order to better see what I'm doing. I don't need the abuse right now. I'm going to click this and here you can see this liquid organic shapes that I like. Um, so the next thing ISS to place another object here, I'm gonna go to the object list and select a platonic. Now we can go back to the different views which are very helpful to place the object on the scene. Um, when I think I'm going to modification deray devious off this object to be like on 50 segments are okay Type II kusa. But you can you can try other variations. You can mess around with under objects. Feel free to do whatever you like. Here, the most important thing. It's Dad. Um, you can learn this technique to do whatever you want, so I'm going back to I go. So here, um, the last thing that I'm going to do it. So I'm going to add a sky on Make sure that this guy is being off here. I can You can modification the sat size of the objects on, and I think this is OK, so now we can make a quick render off the scene. If you click here on this, I can and everything. It's going to be pretty blame. It's going to look pretty blamed me Gas. We have some role objects with no Dexter's, and we're using the cinema 40 before lights. So we need to out some color and nice lights to get beautiful shadows and make this seem look better. And that's what we're going to do on the next videos. We will create some materials for each one off this objects and play some lights to affect them. So are seen Lukes more natural and more interesting. If you click again year going to be back to the editor. Hmm? Let me place this platonic a little bit better. So it covers all the the pigs than we have here. I I think it's looking good. So now we can move forward to making materials and extra in this the sin. See you on the next video.
3. Add materials | Cinema 4D: So what? This point, it's a really good idea to save your file by going here on clinking. Same. I did it before, so I'm going to save your ass. Skew? Sure class, too, to show you how it works on. You can do that periodically by using the sure cat command s on a Mac or control s on a PC . Now we can start creating some good materials for each off these objects on the scene. The first thing that I'm going to do is to select create human tutorial, and you're gonna get a blank material. The 1st 1 is going to be for our sky. So I want this material to be, uh, not chest with made Golders bad Luminal on bright. So I'm gonna choose The Lumia knows channel to, uh, placing colors. And I'm gonna use Grady int here. You can edit the Grady in by double clicking, dear. And here again, So my first color is going to be like this purple here. Ah, I like 200. 200 here on the Red Channel and 1 50 here. Ah, uh, that's okay. I think this car is good on. I'm gonna make this one like green around here. It's nice. So they're sour Ingredient. It's horizontal. So one thing that we could do now it's to change the orientation to Particle. You think this option on? I'm going to switch to colors to have the green down under purple up on top. Uh, and you can assign every new material to the objects by clicking and dragging it on the scene or by placing it here to be sure that we're placing it on the sky. I'm gonna do this. I want this color purple to go a little bit down, so I'm gonna added my material and take these a little bit to the left. There, you can see what's happening. Um, I think this is OK, so now we're going to create a material for the platonic Uh, this your material? Well, use the color channel, and I wanted to be like, I think a great here. You can select cold or on Dexter, and I think a great great car would will be good. Something around my 2202 100 200 here. And I want this material to have a septal texture. Uh, and we can do that by going to the bomb channel and add in texture, serve face. Uh, and Harris, I think it's going to be You can see what What's going on here. Uh, we can edit this texture by going double clicking on the pattern and moving around this options. So see what works better for you. This is not changing anything bad frequency will and also level. I think something around here. It's good. I want the surfing's off this object to be, uh, irregular. So that's why I'm activating Bump. And now I can assign my material by clicking here and dragging it into the object. There we go. The next thing to do iss to create a material for this deformed plane. I'm gonna go again to create new material, and I'm gonna choose the color channel and have a Grady int again Radiant. We can add it, dig radiant by clicking there And I wanted to be from this time from blue to some sort off magenta or think light blue to pink. It's looking good. And I also wanted bird ago. So there we go. I'm gonna grab it to the blame. Uh, I think This is good. We can rotated again to see what happens. This looks better. I'm gonna switch the colors to have the blue on the foreground and this pink color on the background. You can use this options here to scale each object and to rotated. I'm gonna click on this one, too. Rotate, uh, our plane a little bit on. I think we're almost done here. Uh, let me place this plant tank here. I need to see what's happening below, uh, and were are ready to move forward to adding lights to the scene. Because if we do a quick render of this, it's still look pretty plain. Although we have cooler, we need some cool lights to reflect on this objects and to also cast and make them cast some nice shadows on. That's what we're going to do on the next video.
4. Lights, camera, render! | Cinema 4D: Let's light are seen. And one thing that I find really helpful at this point is to add a camera. Two are seen so once I am happy with what I'm seeing on the editor, I go to camera and select a camera on. If you click this, I can hear you are going to look this view to the camera. So here you can see the center of the image and the limits marked with this little squares on the cameras Really helpful because here you can see where it's facing on. It makes much more easier to keep having new objects if you want, and on placing your lights to the scene. So my first light, it is going to be, Ah, one light and I want to place it. Then we move it up, and if you click and drag here, you can move the light using the top view. I wanted to be on the left off the camera, and ASA said, I want a warm tone here. So read to 20 and green 1 60 blue, 1 40 The intensity off this light I wanted to be septal, so I'm gonna turning down to 75%. And I wanted to be an infinite light to kind off feel all the scene with this subtle tone. I would just like to create some nice shadow. So I want to select area shadows and I'm gonna make a quick render. Now, let me make this window bigger so you can see in detail on here. You can see what light. Thus it's really important because our objects are gusting some nice shadows and we have a little bit of flight. But I think we need to have more lights to make this look more natural and interesting. So click again here. I'm gonna add a second light to place the object. I'm gonna use all this abuse If you take here again, you can drag this light to to ride off the camera And now I'm moving it a little bit app And I want the face light to have ah, blue tone Just like what? We're looking here on the on the sky on this material. So I'm going to create a septal blue tone by 50 here to 25 on Green Channel on and I think that 2 50 on the blue channel is going to be OK. Yes, I wanted to be a little bit more intense, so I'm gonna crank this up to one 50% and I'm gonna make it an omni light. It's OK. I want the shadows to be soft. So I think this is good. Let me do a quick render and now you can see that we unveiled all this area and the image is looking a little bit more interesting and natural. We have a nice AMBIENTE. I think I'm going to add 1/3 night in the background to highlight the area on the back. So I'm gonna go again to know I think I'm gonna copy this light on the on the right of the camera and drag it right behind the platonic object. So to do that, you have to hold a command K on a Mac or control on EPC and quick and rag on this light. Take it behind. The object here is going to be good a little bit, uh, on here, intensity. I think it's good. So I'm gonna make another quick render to see where we're getting with this. And I really like the out camp So now that I'm seeing these under delights, uh, I think it's good to play around with the course off the material, the material of the platonic, and and see if we can add another detail or object to our scene. Um, And then we will be ready to do a final render an exporter image to to kind off do some final touches to read on Photoshopped. So I'm gonna go to the material for platonic, and I'm think I'm gonna go to the Gold Channel and change this to Yes, I think I'm changed in this too radiant. So let me change it here on I I'd like this grading to be from a dark gray to a lighter grey. Yes, that's good on. And I think I'd like a radio or, uh, circular radiant in order to let me switch. The stones have this dark tones on the edges off her object on this light tones on the center off each off this segments that are composed in the platonic, and I'll do a quick render to see how that is how it looks. It looks much matter to me the night affecting this area that looks good. I'm gonna move it around to see if these objects can cast a little bit more shadow. And I'm gonna and check this to move around my scene safely without affecting my camera view. I think this is good. I'm gonna go to back to my camera, Butte. I like it to be on the center, so that's nice. And I'm gonna do another quick render. I'll see if I can rotate the object, avoid a little bit up on and down here. So I think this is looking good. I wanted to be on the center, off the scene. That's why I'm moving the camera view on. I'm going to add a little sphere to be right on the on the center off this while again here So I can scale this fear by thinking here and also holding your click and dragging. Yeah, you can make it bigger and smaller. I'm gonna see if I can better place it by using this view. And would it will be up. I'm gonna make this view bigger in order to see what I'm doing. Then a little bit down and I need the edges off this sphere to be smoother. So I'm going to increase the segments by 60 radios s. Okay, Andi, I'm going to see if I can Would this fear right on the center of our platonic there, and I'm I think I'm going to create a new material for for this fear another Grady int on. I'm gonna make it on the collar channel, selecting a radiant on the Dexter and and intended Grady int. I think I'm gonna make it from orange to I don't know, blue French do. And purple here are in blue. In purple. Yeah, just like this. Sorry. This is looking nice, and I'm gonna drag my ingredient to the object. Make this a bigger I think that I'm gonna change to type of the crazy into particle. Um, I think I I'm gonna get read off this blue. Yeah, that's looking better. And I'm gonna do a quick render now, this is very nice. So I think we're almost done too. Do a final render. I I'm not sure if I like this this pigs here, so I'm gonna get back. This is saw. A triumph, an error process. As you can see, until you get something that you like. So I'm going to move around my plane in order to reveal some of those eggs and rotated again. No. Here. It's nice moving down and let's make a quick render. So I'm gonna place this platonic here to be right next this fear. And I'm going to select both by clicking shift, Andi, But by holding shift key and taking on inch one of them on, then using scale just cables, I think that is better on last. I'm going to more the fire that will be the viewer for camera and also the Grady and off this plane to have some more off this blue. So I'm gonna go to the luminous China and that it is. Sorry, this is the radiant off this guy. This one here and gonna go to color an increase the amount off purple so you can see you. What's happening and also see what happens If I changed the the type off the Grady into vertical. It's gonna work better. I'm gonna take this glued to the to the foreground and have some off this magenta on the back room. Uh, I'm rotating the I'm trying to retain the plane now to see if I get better. So this is looking good. I'm going to to do a quick render and now we're almost done. I'm going to correct this big here by moving both off this objects called the shift key and select them with your mouse on. I think this is good. So cameras activated. I need to move it a little bit to place it on the center on, make a quick render again. It's looking much better. And now I think we are ready to export this image. So I'm gonna go to render settings. Ah, and just because we need to have some nice shadows and interests, I'm gonna add effect. I'm being doc solution and I also want the plane and a platonic to be isolated from the background on the final image that we export. So I can have on a much with a transfer and background to ended on photo shop. Then I can see if I want to export the background separately or create a new back row now on photo shop. But this is pretty much the process I follow every time that i e do this kind of image. So here. I'm going to select being she and to have a transfer and background. I'm gonna check Alpha Channel and on the output. I'm gonna crank up the resolution to around five or or six south, and it's gonna be OK. The ratio is locked. That's why these number here change it automatically. And I want to see where to save my final image Here on this folder. Uh, platonic and thanks. Save. I think we're done. So once we finish with this settings weekend move to render the image to the picture viewer . So here, Waas Orender here is surrender that I did before. I'm gonna erase it, Remove it. This is kind of off a collection off renders. Um it's pretty handed Teoh to see different out guns every time you you change something on the editor and I'm not going to make you wait for this render. So I'm going to stop the video and get back when it's finished. I'm back. Here is my final render. Um, before exporting it, I want to show you the filter tap. This is a function I really use while waiting for an image to render. But this time I waited for it to complete. So you can see how the filter affect all the this image. I'm going to enable the filter first and then increase the saturation by 15% and then moved a curves made the dark tones darker on the light tones here nytr So then I can increase the amount of red on the dark areas on crystal green on both light and dark on a little bit off blue on the dark areas. And here you can see the before and after of what I just did it looks a little bit more baby and better. So I think that now I'm ready to export my render. And here you need to make sure to have off ah channel selected because you want that dress transparent background and also enabled the futures too. Make this change is on the on the image on the final image that you're exporting and then you okay My image is going to save here. Save replace yes on. And we are ready to move to fund a shop now
5. Different approaches | Cinema 4D: before proceeding to photo ship. I wanted to make this quick video to show you how to export the background separately in case we need it. So by default or our objects are visible here, that this two dots indicate visible in editor and visible in render. So I want this to be read because I don't want them to be be civil and render the blood ionic and this fear and also the plane. And once you do that, you can render this to pick tribute on. You're only get the sky with the backroom, Andi, all this lights and of course, the camera that it's taking this image. So I'm gonna render this to picture Bure. I don't want to override to create a new image, and it's rendering much faster because and you don't have to deal with all that she geometry to create this Render. Uh, it's just a Grady int on this guy. So I'm gonna close this on while this render continues because I don't want to stop it. I'm gonna show you some other ideas about what you can do with this technique. And first I'm going to get rid off my sphere and platonic, and I'm going to keep my blame, make it visible render and the first thing that you can do it's I'm gonna more my camera, It's still checked. I want frame something completely different here like this. And I also want to very eight this pattern. So one thing you can do is go to the Shader, and instead of using noise here, you can use an image. I'm gonna use an image that I've created with a technique that I share on my first last year and skill shirt. It was about creating abstract images or an iPhone or iPad. So if you can have one of these devices, I recommend you to enroll to this class because it's a pretty interesting technique to create images like this on the gold that you can use to Dexter illustrations or or as a standalone image. Um, I'm gonna loaded here on my displace around you can see here how it it's starting to effect the shape off the off the plane. Eso if I do a quick render, you will have something really interesting. Uh, so I'm going to stub this video right now on get back when this quick render is finished because my computer is working heavily right now. Here, you can see what we're getting on. It's kind of cool. You can use this, export this and use it as a Dexter or or fired off another image. You might also, I'm gonna click here to get back to the editor, change the color off this Grady int on the plane. Perhaps use a solid color or I don't know. You may load another image. Another object here. Sorry. Get it up and make it smaller and create a new material for this object. I want this to be a babble, so I'm gonna make it transparent and reflection. 1.1 point four, for example. On it's gonna be some kind off glasses. Fear. I'm gonna increase the segments here and make it a little bit smaller. And I'm gonna make a copy. You can hit command on your key bird on a Mac or control on a PC and click and drag. Make a smaller, smaller babble here and then assigned the material to both of them. Uh, hit. Render again and you can start to see what's happened there. So this are quick little ideas that I can give you. You can move your camera around, arrange objects in a completely different way. So Simien and we grander again. And this is kind of far on EC strange landscape that you can use on any off your illustrations or explored us it is to bring, and for me it's looking very nice, and you have something completely different of what we did. So now that I've shared this ideas with you, I'm going to just he if my background, it's exported. So yes, I did it before, but I want to show you how to make sure to no canceled, to make sure to export the render that we just did here. I'm gonna just j bag because I don't want any transparency year. It's just background and make sure to use the filter. It keeps all the the settings that within before and then, Okay, and I'm going to export it as background and that's it. See you on the next video to start working on our image on photo shop
6. Final touches and textures | Photoshop: I'm own Photoshopped. I'm gonna open our image. It's, uh, being G where the trust burned background. As you can see here, I'm going to also place the background that we render separately here and put it below our plane and platonic. So now I'm going to place here on a job. And I, um, curse objects are adjustment layer in order to increase a little bit. The brightness on the whole image. This is something similar. That's what we did when exporting to render on cinema 40. I want to also modification the other channels increased the amount of red here on the lighter areas. Um, take out a little bit on the darker areas, increased the amount of green here. And, Lou, it'll depends on your final image. Perhaps you do something completely different here. That looks really good. Ah, so I like what I got here and now I'm going to start doing a couple off selections on our objects in order to be able to add some noise. So here is my first selection on I'm using the Ben Tool because I can go here two baths and save my selection to use it later. So this one will be let Danek one. And here I am going to have all the collection off my selections to use again and again every time I want. And also the bento I'm gonna do a new one here. The mental allows me to follow this organic Arabs here. I'm not able to do this when you sing the last tool and let me do this camp here and start adding noise. So once you finish one selection, I'm going to show you Hear what I'm going to do. I'm gonna create and you, Layer, and I'm going to invert my selection because, as you can see, I'm selecting the outside off this triangle I wanted inside. So ah, breast command shift I on a Mac and it will in Burt your selection or control shift. I on NBC will do the same. So once you do that, you can We couldn't hear on your brash I'm gonna use the mode of these off, not normal. But before you have normal this off and use of black color. And also make sure to use a smooth, uh, brush. No hardness to do this. And I'm going to add some grain. Here s a shadow. Ah! And to get rid off this grain inside the circle, I need to make another selection. I'm gonna complete all the selections here on the blood tonic. Very fast to avoid boring you. - So now that I have Oh, my selections, I'm gonna go to Platonic three, which is this one, and I'm gonna drag it here and make an Imbert selection with command shift I or Control shift I on NBC on using the eraser. I'm going to erase the grain on this fear. Use now. Hit Command the to the select. I'm going to your race. This part here a little bit to get rid off that grain on this fear. You can bet get but here on, make a selection. I think it's going to be better to get rid off this green faster. Sorry about that. I need to in bird again. Command shift and I and delete this grain. I want to say this this election. And now that I have all my selections here, I can simply drag each one of them and keep adding grain on the same layer. So I will make sure that my brush is bigger once you bigger, huh? Again, I paint outside. I'm leaving all this error so you can see what's happening. And I need again to invert the selection by linking command shift I on the keyboard or control shift. I if you are not BC, and I'm gonna paint again a little bit off grain on the bottom. Off the selection. No, I'm going to use this selection here and add a little bit of crane again. Sorry, I think I will move. This is not here to meet exactly the edge off the off this plane. And I'm gonna add again the same. Invert your selection. Remember, to involve your selection, I added a little bit of grain there and then command d to de select. And I'm gonna take one off the bottom selections this one and add a little bit of crane again. Invert your selection. And this this one in burnt your selection again and again. Uh, let earning three, which I I selected both of these areas, but I'm going to paint here first in burger selection and then pain a little bit of grain there, and I'm gonna go with the selections on top now and in bird my selection and at a little bit of green there and here on the side, The same in bird, your selection and add a little bit off green. And we have some code Dexter now on our platonic object. So now what I'm going to do ISS to create a septal transition between the background here off this plane, the background part and on the sky. So I'm gonna do that by masking out the the blood Danek. I'm gonna use this eso selection toe to select the just of the platonic. I'm gonna take it down here, and then I'm going to add a mask. Make sure to invert this masked by hitting command I on a Mac or control I on a PC. Then I'm gonna paint a Grady int with white color from wide too transparent here, and I'm gonna make it linear. So there you can see what happening. I'm gonna erase this edge here, and I think this is looking nice. You can, uh, select this circular Grady int and invert the colors to paint a little bit off black there to make this part off the playing disappear. This other one also. So for me, this looks very nice. I'm going to add a new layer. I'm gonna use the back it to to paint it with black and then use filter noise at noise. Uh, this is good. And I'm gonna use screen as a blending mode off this layer. I'm also going to hit command em here or control and on a PC to edit the contrast off our noise. I'm gonna make it much more dramatic taking down this part of the curb to make the darker areas darker on our noise pattern on. Sorry, I'm gonna do it again. That's okay. And I'm gonna lower the opacity off this layer. I'm gonna make it on Lee 10% to have a septal noise on the whole image. And I'm gonna make it invisible to be able to use the color picker and get some off this blue. I'm going to create a new layer. And no, by using the Grady in tool from cooler too transparent, I'm going to pain some light leaks. You have to click and drag here and I want this. Think I'm hitting the old key to select this color with the color picker. It's the same key, I guess on a Mac on own and embassy. And I'm going to paint this lightly on another layer here. I'm gonna lower the opacity. I think I'm gonna use the overlay blending mode for both of them. And I'm gonna also lower the opacity of this one and then make visible the noise layer. I think this is looking very nice and what I am thinking I'm gonna do now It's too odd. Another layer of grain on I'm going to load Ah, another image. So place embedded image. And I have this world texture Dad, I made by taking a picture of a wool and playing with the curves on, having only to have only wide and and black. And I'm gonna place it here. I'm gonna make it as big as possible. I like all this stains on this pattern. I think I'm going to invert it. So I'm gonna rest. Arise this layer my making a right click on layer and juicing restaurants layer and then command I two inverted and used screen as a blending mode on Take it down and I'm having this nice being touch. Look for my for my bolster. So that's it? No, I'm gonna save my image. Fine. Save us. And I'm gonna go here saving us Danek Final. I want to give the father ship, but I'm also going to export a J peg. So save ass. It's currently saving. So wait for that. And now, save us, Jake baguettes format, and it's OK.
7. Wrap up: Now it's time to share your own project on the budget gather. Create just one image using this technique, anything you like, make your own decisions and just incorporate this technique to the way in which you like to work. Enjoy the process and don't hesitate to reach out to me with questions or comments at any time. Follow me on Instagram to see more off my daily illustrations. Some of them are made with this technique that you just just learn. And if you enjoyed this class is, don't forget to leave your review. Your feedback is really important and it will have me to reach more people here on skill shirt and keep working on more classes like this one. Thanks and bye.
Jorge Luis Miraldo, Visual Artist
