Transcripts
1. Introduction to the Course: Are you passionate
about three D icons, but not sure where to begin? Well, you are in
the right place. Hi, I'm Paul challa, a three emotional
Illustrator artist, and I'm excited to guide
you through this journey. In this course, we explore the world of three D
finals icons together, starting with modeling,
moving on to texturing, and finally lighting
in cinema 40. And here's the best part. A we also share some
insider tips on how you can turn your three D
modeling skills into a profitable venture. So are you ready to
create something amazing? Let's dive in and get
started together.
2. Modeling: Coin: Hello, guys. Welcome.
In this episode, we are going to be
creating a coin. Furthermore, we are
going to be creating different variations
of the coin. At the end, we're going to stack it out together using the. So with no further do let's
get started together. Start off by using the primitive
shape of the cylinder, and I'm going to be walking with my reference right there. So that the ight segment is one and the rotation
segment is 16. Because I'm going to be
using the subdivision later. I'll make it editable
by pressing C, and I'm going to be
selecting the cp. I'm unable to use the
loop selection here because the faces
are not connected. I'm going to select all
the polygons and I'm going to press U for optimize. Then it will be easier
for me to select the cp. Of course, you can do
this inversely by just selecting and the other faces the inverse it,
which also works well. I put it in the subdivision so that to smoothing things up. But there's no defined edges, so it is in the
subdivision, just run. We're going to be adding
additional, additional. I'm going to be using the
as you can see right are. It's look like our
coin basis set. You can a additional details, but I'm going for
something simple. The next thing is that
we're going to be curing the coin symbol, and I'm going to
be using the text. By using the text, I'm
just going to change the text by changing the text I put the
door symbol in there. You can choose a server
symbol that you see fit. Also I change the font so that to give it the kind of a
feeling that I'm going for. O And also I change the alignment
to middle and rece it. H. So what I want to do next, right here is that
I want to rename. It is important to
always name your object. And also, I want to
add additional details with he by giving it a Bv. I'm going to be duplicating these and to
duplicate, it's easy. Just just hold on
to the control key. Then it's going to duplicate
the object for you. And write here we
are almost done. We're going to be creating
additional variant and I just duplicate it. Then the ont I'm
changing is the symbol. You can create as
many as you want. You can create
different signs also for different ones
that you love. Also, you can import
custom ones likewise. Just by using Illustrator,
if you use illustrator, you just create your symbol, then you import it
in Cm f d or you can create it directly
using Cinema four d. We are done with the
coin modeling and right now we are going to
take it a bit further. We are going to stack the
coins together using the So I'm going to had the efecto. I'm going to be hiding
the random e to the The random effector to create this variation so that our coin stack together
doesn't look perfect. It is important to understand
this because nothing is perfect in the universe. It's important for you to create this random aration so that it. I mean, it's going
to feel different. Then I duplicate the
and I change the count. You can do this as
many as possible depending on what the
look you're going for. Of course, you can duplicate the random effector if you want to create
different variant, likewise, dl random effector
and change the parameters. I believe you have learned one or two things
from this episode. You're able to learn
the modeling and also you are able
to learn how to creative variation and Like, you're able to learn to use
the Klout creat variant. Will advise that you pic and practice then see you in the
next episode. Thank you.
3. Modeling: Cash: Hello guys. Welcome.
In this episode, we will continue in our icon
by modeling the cache icon. In this episode, we are going
to be using the cloners, and also we will learn how
to use the bender former. Without wasting time, let's
get started together. We're going to start off by
using the cube primitive. Now we just try to size
it up to the reference. Of course, you can use
whatever size that you like. Going to run off the number. So I duplicated just
for the blocking out. So what I did there was that I s that I want and I
invest the selection. F to get the best
of the tutoria, I will advise that you
can watch it twice. The first time you
can just overview, then the second time
you are practicing. This will really help
you to really get the graphs of what's been. The reason why I made that
cat was that I want it to help me to sub divide
into COVID at that angle. It's important for
you to try as much as possible as you can to try to model your model
with polygons. This really is your subdivision. Because if you model with a
lot of engons, of course, there's a way to go around it by using some of cinema
for the tools to. But they don't really
offer the best rest time. It is well advisable
for you that you try as much as possible
to model in polygons. O For the second part, I'll continue with the cut. So I don't want to
use the bevel to, so I'm trying as much as possible to just make
the cuts minimal, so that subdivision will
do the he works to. Anytime you make a few code or few anytime you make a few code, it is easier for you
to manipulate compared to you working with
high density models. I believe we are getting I
believe we are getting closer. Also, it is important to note that yours may not look
exactly like mine. I'm just trying to
show you that my process and fail to learn
one or two things from it. Oh. Also, it is important for you to always name so that it will be easier for to quickly identify
it and the object editor. We use the to stack
the cache together. Oh For us to create the rap, it's simple, just you using
the cube and just be re it up together and just to fit in. U Oh So depending on the look that you are going for, I mean, I believe
that this is really relative to your taste. So you can keep on adding
additional details. You can you can even simulation to make it
more realistic but mine. I just want to keep
things simple. Oh, Now let's use the bend deformer. We want the object to be, so we're going to match
it together as one. Of course, you can still
select the individual part by when anytime you
are in the head mode, you can still select connected, you're still going to
select the different part. We make the bend of the model. Also, it is important
to know that anytime that you want to
make any object, the child of another, all you just have
to do is the you hold down the shift button. Whenever you hold
the shift before you select that
particular object, is going to make that object of a parent object.
That's how it works. But if you want it to be, then you hold on the hot key
or the option key on the ma. So it look as if our bend the former is not
working well right, but all you just have
to do is just simple. You just have to rotate it. Now you can see
that it works well. We can increase the
angle of the bend. Now, depending on the field
that you are going for, it is important to always keep the length so that
it won't add toes. The object will be
precisely the shape. Also, it is important for you
to make sure that you have enough enough polygons
before you add the former because
if you only have few faces a few polygons,
it won't work well. Here's the process on how the additional
details you are added. Of course, you can have the independence of doing
what suits you best. I'm sure you have learned
something from this episode. Of course, you're able to
model this cache icon. We're able to add
additional details. We're able to use lona and also we're able to
use the de def. I hope to see you in the
next episode. Thank you.
4. Modeling: Gold: Hello, guys, welcome.
In this episode, we're going to be
taking our icons a little bit further
as we model, the gold. We're going to be
using instances instead of using clues here. I would know further I'll do.
Let's get started together. We start off with the
blocking by using the cube. Also, it is important
to always note that simplicity is the key to creating icons,
especially three icons. You don't want to bug yourself down with a lot of
unnecessary details. Of course, you can manipulate
your model as you see fit. It is important to had edges for divination because of division is going
to be headed later. Oh. So make sure that you put one in the
linear presub division. That is going to make the hedge. So I want to have
additional edge over there. Of course, you can
see the difference. There are other
ways you can really achieve the same result also, you can use, but I don't
want to use that for now. Right now we're going to be using the instance
to use the instance, select the object, then
click on instance. It will automatically create
the instance for you. The advantage of
using an instance is that anytime you manipulate
the original object, it will automatically update the information on
how the instances. This really save you
a lot of time in trying to make any changes or any type of manipulation
that later comes later on. Oh. So there's liberty for you to do what is pleasing unto you. Mine, I'm not totally
following the reference. And of course, you can add
additional details with it. So, I believe you have
ts from this episode, so I hope to see you
in the next one.
5. Modeling: Atm and wallet 01: Hello, guys, welcome.
In this episode, we are going to be modeling the ATM card and
the wallet icon. So we start blocking
out the wallet. That is important to practice with simple models
so that from there, if you really want to scale
things up to more detail, maybe hard surface modeling, and this is just a foundation. Oh. I'm adding additional cut because I'm going to be
using the subdivision. For me to that out, I select the edge and
I hold do my contro. It's simple anytime you
want to particular, all you just have
to do is hold down your contro just like
duplicating object x. Now you can see that after
we have this subdivision, we are getting closer
to our reference. Anytime you experience whenever you extrude and you
notice that they are intersection and you haven't got the depth that
you're looking for. It is advisable to ext in
the opposite direction. Sometimes it's really
solved just make sure you resize the ship that
you're looking for, then you extrude to the
opposite direction, which is what I'm
going to be doing. As you can see that there's now additional depth without me having an intersection
at the moment. So that's a great
step to always note. O As you can see, now, I think we are we are
almost done with the wallet. Oh Make sure that the visible only is turned off. You can see that from my selection, the
rectangle selection, my visible only is
turned off so that I can correct the size
of the as I see. So in the next episode, we are going to
continue with the it. So see you in the next one.
6. Modeling: Atm and wallet 02: A, welcome guys. This is the second episode of the
ATM and the wallet modeling, and we are going to start
from where we left from the previous episode as we continue to model
the card itself. To tug on and half
the generator, that is the subdivision, only just the key you have
to press as the Q key. Anytime you press the ke one, is going to turn it on, you press it second time you're
going to turn it off. O O I don't want the button itself to have a sharp or hard edge. That's the reason why I
switched the subdivision. We'll be hading the
number to the card. I select the card and
I hold and shift. I took it out of the group because I don't want it to be affected by the subdivision. Oh So you can change the font depending on the kind of the
feeling you're going for. Can the bevel or the
cups to give it edges. Of course, you can choose any of the profile in the set in. I split the face just to
create this cheap detail. One major thing that has been stressed with
creating an icon was that every of the illustration you
are trying to depict, you just have to keep it
simple, nothing complicated, nothing more detail, keep
it relatively simple, and you're good to go. As you can see,
I'm taking Liberty from the reference
that we're using. O So we can make an by pressing I. O. So I delete the phases just
by inversing the selection. So then I use the bridge tool to just bridge those
edge together. So Make sure you
select both edges before you use the bridge too. I'm going to be using
the barefoot this former instead of
using the subdivision. A we just have to do is that we make sure that the offset is low and give it a little
bit of subdivision. It is important to name it
with the name that you're going to be remembering
data because when you are texturing the
individual object, it's going to be easier for you. Since we extract the polygon, it is important for
us to reset the xes. I think we are done
in this episode and I believe we
have learned things about the modeling and also how to really model
things simple, yet effective. I hope to see you on the next
episode where we are going to be taking the rest of
the model also forward. Thank you see you on
the next episode.
7. Modeling: Sack: Welcome, guys. In this episode, we will be creating I
believe the fifth icon, which is the Moni sac. We're going to be
starting with the sphere. We keep the subdivision
low, 16 we do. So Let's start
manipulating the object. After you select it, and we can go over to the
scale and the soft selection, the soft selection, then
we can reduce the radius. Anytime we scale
things down is going to affect the
corresponding phases also. So you can turn it off
anytime you are done with it. Make an insert another name
that is called ina extrude. We make sure that whenever
we are extruding, we turn off the cup
because we don't want it to create additional inward. So then try to manipulate
our point or hedges, so that to give it a sack. I believe we are getting closer. So to create a simple rand it, just by using a simple
primitive tours. So you just make sure that it is inside as a child of the object, then we just recize it. Of course, this
is not necessary. If the look you're going
for is already attained, you can just keep watching this episode just for reference. O And I m say this again, you have to keep
your highs simple. That's the secret source.
You have to keep it simple. Of course, you can go
along and add the coins. The coins that you have modeled, I think in the first episode. You can go ahead and just
add it as you see it. I believe you have learned
something from this e. Plea it is important for you to practice and hope to see you
in the next one.
8. Modeling: Safe: Hello guys. Welcome
to this episode. In this episode,
we are going to be modeling the last of the icon, which is the safe Lock, and we are going to be learning how we can use simple modeling
method to achieve this. With no further ado, let's
get started together. Like I always say, you don't have to use the
exact dimension like mine, but just make sure that you keep it so that you can
have similar results. We start simply by. Let me switch on the key so that we can see the keys
that I am pressing. So we duplicate the
in word for the door later on so that we won't
be to to start all over. So just a simple in. O. Now with the door.
I'm in the opening. I just ex it outside. And make sure that the
create cup is ted on. Yeah. So we need to correct the axis. So press, press the letter. So make sure that
the snap is on. Like I always say, it is important to keep the details simple,
nothing complicated. If this is going to be animated, of, it can also work. Depending on the reference
that you're using, you can make sure that you a possible to keep your simple. So we can correct the axis also because now
the hinge has been inc. But because of the time, let us move forward. So as we can see the reference, it is just something simple. It doesn't have to look
exactly like the reference. I'm just I'm just checking around so that I
make sure that I didn't from the
original one too. Just keep following along
as you see me do it. You really really get the
process of how it's been done. Oh. So I created a separate
subdivision for him. I don't want it to share the same subdivision with
the other model because, because of the linear
pre subdivision. So that was the reason why I
created its own subdivision. I don't want it to share the same linear
subdivision settings. O. We are using a path selection to select some of
the hedges that we are going to turn into to
hit the additional detail. We can delete some point. Of course, there's different
way to go about this. You can use the Celinda hussle, just to match it on
together and some they can use the lona and just
put it in the reader. But I just really want to show that it can also be
done trough this way. Let's select our profile. Then let's elect our
sweep with the fire. And this scale is small, so I have to scale it up. Oh As you can see,
we are Homes Don. I'm going to be handing the hodo right now in this episode. Of course, you can watch
it to the end because there are additional details
that I keep on ding, which is also something that
you also can learn from. Feel free to watch
it to an end and also see you in the next
episode. Thank you. O
9. Composition: Hello guys, welcome.
In this episode, we're going to be compositing all our icons together
after we finish modeling. I'm going to come to the
render settings and I'm going to switch to
V R. If you have other rendering
engine like Octane or perhaps you are willing to use the native
rendering engine, you can also follow along. So I'm going to create a camera. I will be using V camera. Of course, you can create camera also which is
amphod right there. Now we make the f g
s, the vocal length. I'm going to make
the vocal length 80 millimeter. For now. Later on, I'm going to
be changing it to 300, which is a forse perspective. I which is a fs
isometric perspective. The reason why we change data will be explained
also later on. Will start by tweaking
my model to make it look closer to the reference that I'm working with to show the depth, and also I will recite some, we arrange some rotate some. This can be done as you see fit and the kind of look
that you are going for. Oh Of course, to make your composition, you can use some compositions
that are available in Cmap. You can see the g, you
can see the triangles, you can see the golden spas, whichever one that you know that can really help
you to compose, they are re really helpful. H. Of course, you can check run model
to see things well. I can rotate run so to see
the whole of your object and to train know what's
really to be corrected. Also, it is important
to make more ation. Sometimes you just don't want
to make everything generic. I'm going to come over to the second object
here and I'm going to drag down the bend the form
to create a variation. So I believe we have learned
something from this episode. So in the next episode, we are going to be taking
things for that. Thank you.
10. Lighting explained: Hello, guys, welcome
to this episode. In this episode, we are going to be explaining about
the lighting. How the simple lighting
was used to achieve the reference that we
use in this tutorial. Yes, the original file. As you can see that I
use four light in here. We use the overhead,
we have the back, and we have the main
light then the rim. Three wa light and
one is a dom light. Can come over to the
f and see the light. He has the dome light, and
this is the overhead light, the back light, and
also the main one, which is the three
light in that we use. The fourth one, which
is the ba ground light, when it is to lit
up the background, which is not to use
in the final output. So forward the one that active. We are going to be
replicating these in our own scene also
just a simple light. A over here is the, which is the first camera that
we created earlier also, which is the 80 millimeter. Let us test the render that
to see how things look. As you can see, we are able
to achieve this lighting. Here's the back light,
just using four light. Here's the back light.
That's the purpose. Here's the feel light, which is also the dom light
that was used. Over here is the main light, and here's the overhead one. Yeah, the materials that were used secreted two
different textures. O and here's the render setting, I use VR V GPU. I turn off the auto exposure. Of course, you can
use red shift. You can use the standard, S for the rendering engine,
you can use physical. Depending on the one that is available for you and the
one that you are using. But the principle cut across
all the rendering engine. It doesn't matter the rendering
engine that you're using. You can also a similar
results. Yes, the camera. Because I'm using V I run
to a bog whereby anytime I switch on the isometric camera is not going
to be rendering. I use 300 millimeter focal lens to achieve a closer result also to give this
isometric feeling. Also, the second camera
is an 80 millimeter one, which is a portrait lens. Thank you and see you
in the next episode.
11. Lighting: Hello, guys, welcome.
In this episode, we are going to be
lighting up our scene. Using V. Like I said, A, it doesn't matter what rendering software you are using the
principal still applies. I'm going to keep
everything just the same in view to
changing anything. I created a new camera, switch it to super
tally focal end. I'm going to. Then I'm going to to properly
frame our icon. Of course, you also can create your light from
standards and my 40 s, the a light and the selections ranges of light that
are made available. But I'm going to be using V, so I'm going to be creating
it directly from V. From DS, the chaos
Cosmos browser, I have access to different lighting and also
different divert materials. I'm going to be using the doom the doom light from
V, which is a preset. To create a similar thing in Cinema 40 standard
rendering engine, all you just have to do is
to create a dom light and had an HDRI into the light. So it's going to work
also exactly the same. So there's no exception. So we check it in our
interactive rendering. Now we can see the
effect of the dom light. I'm going to create
a base texture. I'm just going to create
a Vy based texture. I'm going to increase
the intensity of the dom light as you can see. O Also, you can change
different settings, you can increase the higher to make the sine more brighter. In fact, you can also go back
to the rendering setting. Turn on the noser
and come over to the camera and turn
on the auto exposure. Anytime you turn on
the auto exposure, it is vi that is going
to automatically set up your exposure for you. If this really
works well for you, then no need for you to crack up or to make any changes
in your higher. So right now, we're going
to add additional light. I'm going to add the area light, which is rectangular
light in view. Of course, we can also
increase the intensity. So, let's add the
additional light. Still the same light, which
is the rect area light. So here's the fot light, which is going to
be the back light. I'm going to be adding the light mixing view so that I can individually switch on and have the light to see
the relative effect. Also I can change the co light. Let's do this test render. At the moment, you can see that the the light itself is
captured by the camera, so we have to make it invisible. Come over to the light and
togo the visibility button on. So we can see the effect of in the individual
light right now. This is the reason
why it is important for you to your light. So I'm going to turn on
the shin in the material. Oh We can see the individual
effect of the light. Right now, we can see the feel light which
is the dome light. We can see the effect
of the main light. Also the rim, which
is the back light. Of course, we can
increase the intensity so that we can very
well see the effect. And this is the overhead light. I'm going to end
this episode right now and I hope to see
you in the next episode. I believe that you have how to create your how simple light. I believe that you have take one or two things or tips in how to really achieve
similar results. I hope to see you in the
next episode. Thank you.
12. Material: Hello guys, welcome.
In this episode, we will be creating
our materials, and H i will will be sharing some important themes that can really help you in your
own personal project. The first one is color dot.com. This website given to you
different varieties of color themes that you can use. Over here, you can choose
the color harmony. If you're working with a
particular brand color, you can choose the x code, and it will create an appropriate
color harmony for you. Also you can come to the
explore aspect and see different themes that
are already created. Pinterest give varieties we can use pinterest
for references, and also we can use pin
interest for colors. If you color it's going to give to you different color themes that
are made available. This is very important
in any design or hat creation for you to be inspired by already
existing work. As you can see, we can
narrow down our search and see different color themes
that we used in di icon. So this is what you are
going to be making use of in this episode. So at the f area, you
can switch on and. You can make use of Seaport the content browser to
search for materials, but I'm not going
to be using that. In or, you can create different materials.
These are the preset. The the Of course, you can also import
the code over hair. The reflection.
We have the code. We have the refraction, and the only settings
we are going to be making use here is the sin. We are going to be
using the and the s. Oh. At the chaos cosmos, there are different preset of materials that are
made available. So I'm going to be
using the gold. You can search for it or you can look directly
in the categories. W This is how all these
materials were created. I select a particular team, so I created the base materials. Then the only difference that the only materials
that I didn't create was the good materials. So I only import that directly
from the kios cosmos. After you have created
all these materials, you can start applying it to
your models individually. We can see the gold
materials here. Of course, I took it to give me the particular look
that I'm going for. And since we didn't do
the U V and wrapping, so also you can come over to the model and correct
the material projection. So you can set different
material projection. Over here, we can select a
particular phase and apply the material directly
on it in the edits. We can see it a
little bit closer. Though we have measure
the pogons together, we can still s a particular ph and apply individual materials. I believe this is a bug. I'm going to find
out what's wrong. I think I'm going to delete
it and reapply the material. It works. Sometimes you can face different challenges when you're working
with application. All you just have to do is
just delete it and redo it. Hopefully it is
going to work well. So we continue applying our materials one
after the other. Go to the head mode,
the polygon mode. For you to select anyone that
is connected, it is simple, you just press U W.
Anytime you press U, then W is going to
select connected. Or you just select a phase, or you just select a phase and go and go over to the select, and you're going to see select connected. That's also works. Well you can select a phase, go to the select menu, then you're going to
see select connected. You can just drag it
directly. It's going to work. O As you can see, it takes a whole lot of work to really create all
these icons in. I'm just trying as
fast as possible to the basic without bugging them with a lot of details
and unnecessary information. I think we have to make
some correction here. When we are reducing the size, we'll make a mistake. I'm going to scale this one. Okay. I think it's
better like this. I'm going to add it to material. We come over to the
render settings, can keep the output. You can increase the output. Of course, you can save it also. Let's re render it in full. Oh. As you can see, guys that we are closer to
the reference that we use. Of course, we can still
continue to make some changes. I strongly believe
that you have learned one or two things
from this episode, how to properly text I mean, how to properly create your
simple materials, apply them, and now you can leverage different materials also
and use it in your scene. Thank you very much for watching this episode and hope to
see you in the last one. O
13. Conclusion: Hello, guys, welcome. Thanks for staying to the end. In this last episode, I'm going to be showing
some important tips, and I'm going to be making
important conclusion. Here is our last render. I want to compare it with
another one that I did. As you can see that the
colors are different. I want to explain
color management. One is rendered with SRGB, and the other one is rendered
with ACs, which is ACES. SC is designed to provide
more color control than SRGB. That's why the one
at the right is more vibrant than the
one of the left. So you come to render, So I'm using VA. So I come over to the
color management. The former render we use SRGB. You switch on to
the SRGB earlier. But the second render, which is the one at
the right, I use. Whenever you use Ss, it is more vibrant, and in fact, it is the industry standard, a lot of professional
love to really uses whenever they
are rendering hot. You can check it out and you will be able to see
the difference. RGB is also great because it is the standard color space that was created I think since
1996 by HP and Microsoft. So it is used widely. But this is more and more
adopted by the professional. We always advise to
always keep this in your mind anytime you're
rendering the final render. It will really
really help to help your model to really achieve the look that
you're going for. Of course, you can
render individual icons. You can render them out
one after the other. Of course, you can plot them. I want to share some site
that you can plow them with. You can upload in icon finders. I mean, sorry, icon finders. So we consider three D
there's a category for three D llustration,
different categories. So you could render it out in high quality and you can upload it here and
you can get paid. As you can see that there are different icons similar to the
one that you have created. Also, you can upload
in CG Trader. A lot of artists may
need your icons, you can upload it in CG Trader, create an account D and those that are
interested in your work, they can download and
you can get paid for it. Last one I want to share is that you can upload
it in UI heat. And if view you can see
examples of the three DS set. Anytime you create
your collection, after you render it
out, you can upload it here and UR it of course. I mean, the community is really really welcoming to your heart. It is not just that you
created it for pasion, you can also make sales with it. It is important for you to render it in high quality
so that those that are that needed either for UI or UX design or for any
other other personal project, the they can use it. As you can see, Blender was the one that was
used for creating this icon and you can see the highlight fully
editable in Blender. So these are things
that you can you can res and I'm ca you can
really create from this. As we come to conclusion, my name again is Paul L.
You can find me on Bans. You can see some of my works. You can check it
out like, follow. Then time you plod your work
on either ke ski share, or you loud it on bans,
you can just follow me up. Also I'm on Instagram, you can search for my
name, Gui Paul Oh. So deep me up and I will respond to
any question you want, or you have you can
upload your work. It is important to
always share your work because so that others
can be inspired from it. I'm also on rib you can see
some of my works there. So I look forward to
seeing your best shot. Also, I'm squire you
can watch some of my previous tutorials so that you can get familiar
with my teaching. So if you create we employ
you to please practice and create your own creation with your own icons and
feel free to please share, like and comment and
read this class. And next time, p.
Paul Olusola, 3D Motion & Illustrator
