Creating Coffee Splashes Using Zero Dynamics | Patrick Foley | Skillshare

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Creating Coffee Splashes Using Zero Dynamics

teacher avatar Patrick Foley, 3D Artist

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

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Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.



    • 2.



    • 3.

      Crafting Liquid/Supporting Elements


    • 4.



    • 5.



    • 6.



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About This Class

In this class, you'll learn the skills to make this whole coffee scene from scratch, including the modeling of the coffee mug, coffee, ice cubes, and even the little bubbles!

We'll go over the whole thing from modeling, to lighting, all the way to texturing and rendering.

Meet Your Teacher

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Patrick Foley

3D Artist


Hello, I'm Patrick. Many know me as Patrick4d. I've been creating photorealistic abstract renders in Cinema4d and Photoshop for awhile now and was overwhelmed at the support and buzz surrounding my social media. My work has been featured by Adobe, Photoshop, The Motion Designers Community,  and more.

So as a thank you, I've decided to share some of my knowledge. I will be releasing a new class every other month so hit the follow button and jump aboard!

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Level: Intermediate

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1. Intro: Hi, What's going on guys. This is Patrick Kiere. Thanks again for tuning in to this Skillshare premium class. It's been a while. It's been like eight months now. Got a really fun one today. One's been really requested. I thought a good one would be to make this coffee mug, some simple modeling, and then had these really cool dynamics splashes using actually zero dynamics, even though it looks like it's watching in here. You're going to see it's going to look really cool. But also being able to have so much control over where the splashes are not having to get the perfect amount of dynamic simulations going on, zero simulations. I think that's what makes this one very interesting. Will be going over some modeling, texturing, lighting, the whole thing just to make everything look nice and spicy. Of course, we're going to need Cinema 4D. To make this thing we'll be using the volume measure in there. Then you might need octane if you're going to follow along to the rendering part. But, of course, just to make the actual objects in geometry,. You do not need octane or any other third party plug-in for that. As long as you have R20 and [inaudible]. We will be using the fine measure and build it. With that being said, let's get down to it, and hope you guys enjoy the class. Check it off. 2. ModelingMug: All right, guys. Here we are in Cinema 4D, we got a blank template here. Using the standard view here just so everyone's caught up. I'm using Cinema 4D R20. If you have anything here, you're going to need the volume measures, I think that was introduced in R20 as well. You'll probably just need that just in the background because we will be using that in a little bit. But I think we can start to model this coffee mug and get started here. The first thing we're going to do, obviously, if you click your middle mouse button you get this four panel view here, you got perspective, top, right, front. First thing I'd like to do is grab a cylinder because that is the primitive shape that resembles a mug the closest. You'll notice here if you turn on your wireframe, I think it's by default on isoparms, you got to set this thing to wireframe just so you can see these segments here. The one thing you're going to want to take note of, before you build onto this shape, you're going to want to take a look at these segments because, notice that each gap here represents a segment or the resolution of this thing. The reason why we want to pay attention to this is because we want to see how big or how thick this handle is going to be because we will be extruding eventually from one of these lines. This look pretty thin to me. I think if we take these rotation segments down to something that looks or resembles more of a handle, something like 22 might work. I think that'll be good. If we can just make this editable by clicking "C" or this guy right here, now we can edit these things. You'll notice this thing is very thin so we don't necessarily want a mug that is this thin, we want to click "T" or use the scale tool, and just bring this down till it gets to a point where this looks like a coffee mug. I think that looks good. Right now we have this shape, totally not a coffee mug yet, but it's getting there. The next thing I want to do is grab a subdivision surface, and I like to do it this way just so I can see exactly what's going on, and how these things are being affected by smoothing these things or the edges out. Let's grab this cylinder or you can call this mug, if you want, and drag it as a child of the subdivision surface. You can see nothing happened here, besides adding a few more subdivisions which is not necessarily what we want because we want to see what this subdivision surface is doing. If we go to the Polygon mode and Ctrl A, or Command A, I believe on a Mac, what you're going to be able to do here is right-click and optimize. Now you'll see this whole thing is being affected. Anytime there's a hard edge, it'll try to round out and bevel this edge here. You'll see, not exactly what we want, it looks pretty low resolution, so we're going to want to fix that. The way to do that is you're going to add more edge loops. The key here is if you turn the subdivision surface off, anytime you'll have a hard 90-degree edge or something like that, you'll want to add an edge loop wherever you can because that'll smooth everything out. Here on the top, we've got this hard edge here. Right here, we've got a hard edge here, so we'll want to add one there, near the bottom here, and then on the bottom. Those are the places we can add them immediately. If we go over here, right-click, let's go Loop Path Cut, and what we can do is just click and hold and then just drag this wherever we want it. I think right here should be good. Then right about here, and right about here. Of course, you're not seeing anything yet because the subdivision surface is disabled. But if I enable it, you'll see that on the top these edges look pretty cleaned. On the bottom, we just have to add one more like that. Now I can see if we turn off the lines here, this thing is starting to look much cleaner, we don't really have any of those destructed looking deformations anymore. But this thing is not hollow, so that's no bueno, we need to make this thing a little bit hollow. The way to do that is let's go to Polygon mode again. If you click UL on your keyboard, you'll be able to see that we're selecting the loops now. We just got to click this guy and extrude it down. If we go into the front view, if you click "E", it'll give you the cursor here to move the selected polygons. You'll notice if I were to drag this down, this is not what we want because it's dragging everything down here and we're losing all geometry we had up here. Command Z that, we don't want that. We're going to do the same thing but holding Ctrl. We add another layer and extrusion there. If we go to this view, we can drag this down all the way to about there, I would say is good. You'll notice we're getting the same deformation, that is not how regular mugs look, if you can see. The reason being is because we need three more edge loops or loop cuts, rather. If you Ctrl A, just so we can have everything selected, right-click "Loop Path Cut", we're going to go here again, because remember, 90-degree angle, we're going to need this cut. Inside here we're going to need one, and inside here. Now, this should be complete. We have all these smoothened lines. If you take this off, you'll see how hard and rigidy, turn it on, because we have to correct the amount of edge loops, we have some nice geometry going on here kind of higher poly where it needs to be, and lower poly where it doesn't need to be. This is looking good. Happy with this, but one one is missing so far and we need a handle. This is the biggest thing, so this is getting a little bit more advanced compared to making what we've already made, which is just the basic shape of the mug. By the way, I'm just doing this by [inaudible] I think it's more natural if I can wing this as I go so you can see the process, but usually if you're making something from scratch you want to embed a picture in the back just so you can get the correct proportions. In this case, I can just take the mug if I wanted and click "T", and just scale it how I needed it. But this should be fun. You have mugs of all sizes, so I'm not too worried. But if you wanted to embed a picture, you would just go Shift V, and then click the "Back", and then just load an image to the Back. That's pretty much how you get to worry about there. Now, what we got to do is extrude a handle. Now, if you go to the lines mode again, and we can turn off the Subdivision Surface for now, this is what we're going to look at. If you'll see here, we've got a pretty good size distance from here to here on all these segments, that'll be good for the width of the handle, but we need something to extrude from because right now we wouldn't want to just extrude this guy, because that wouldn't really work. What we're going to want to do is Ctrl A, right-click "Loop Path Cut", just click once anywhere. Then we're going to click here on the "Number of Cuts", and that'll just center everything and make everything even. You're just going to think about these as cutouts for the handle. Obviously, this is too narrow or long for the handle, too big. Still a little bit big. Right now, it's starting to look pretty decent for the handle. This is where you could go maybe five, maybe six, depending on the handle and how small or big you want the handle. Maybe five will work. I think that'll be good. What we want to do now is just click the "Move Tool", and we can just deselect that stuff here. I like to be mindful of where the axis are. This is z-axis, so front would be facing this way. You're going to click two polygons that would represent the extrusions of the handle. I would say something like these two. It looks good to me. Then walk holding Ctrl, dragging these things out. Now, by default, if you were to smooth this out, clearly not what we're looking for because these things round out, we don't have that much geometry. But that's essentially, we're getting somewhere. Ideally, we're going to want to bridge this gap eventually. What you'll want to do is do the base work for this whole shape. Cinema doesn't have to do too much work. What we can do is, holding down Ctrl again, just dragging out, maybe rounding this as we go, and we keep everything proportionate here. Do the same thing here. Again, you can just eye this part, it doesn't have to be too crazy. Rotate it down, and the next thing we want to do is bridge these two together. I think Cinema has enough information to make this call. What we'll do is select these two faces, and clearly, all we want to do is just bridge these things. What do we do? Right-click, "Bridge". Then Cinema, it'll just know what's going on if you click near the edge that you want to connect. If you just let go, it has made a bridge there. By default, this is giving us a start that we want. Honestly, not too bad. For the amount of geometry that we have, it's looking pretty good. I still think I could maybe use one more loop. If we just right-click and do Loop Path Cut, click right there, and then if you have the Move Tool selected, de-select those guys and go to lines mode. If you double-click, it'll loop select it. Then we can just move this thing out a little bit. This is honestly looking pretty good kind of made by hand. You'll remember, this right off the bat doesn't look 100 percent perfect, but I don't think we're trying to because if you notice, any real mugs in real life, there's a bunch of human error, a lot of times these are built from clay or something, and you're not going to have perfect edges here, maybe these things can be, cleaned up a little bit. If you take the Subdivision Surface off, go to the Mug, maybe you can add a couple more edge loops, if we go to Loop Path Cut, let's make one there, let's make one there. Even just that, it cleared things up for us a little bit. This is looking good. I'm pretty happy with this. We're in a good state here. I like this, of course, you can do some tweaking if you go to the frontal mode, of course, with the line selected, going to the move tool. You can do all this work yourself now tweaking this how you may. Boom, maybe rotating it if it needs to be straightened out depending on the look you're going for. This thing can probably be closer to 90 degrees or something like that depending on the look, of course, you can do whatever you want. You can make it deformed a little bit. But generally speaking, I think this is starting to look good. Maybe we can rotate this one a little bit, move that in, and I think we're getting somewhere. Of course, if you wanted a little bit more definition to this shape, what you could do is add a loop cut. Because we have pretty clean geometry, we can add a loop cut somewhere like here. Notice the difference now in size, we have a rounded side, and a cleaner side. Again, it's whatever you guys are feeling. I'm pretty happy with this. That'll be our mug. I guess we'll see it in the next section for building out the geometry for the liquid. 3. Crafting Liquid/Supporting Elements: Hi, guys. Welcome to the next section here on Skillshare. We have a nice little mug here, so we got definitely enough to work with here for the base here, creating the liquid. This all looks good to me. Maybe you can tweak some few things or a few things here and there. We going to move to double-click remember to select the whole loop there. Just making this thicker if need be, if we need some more geometry there or keeping it how it was, up to you guys. I think we're looking good. What we want to do for this liquid is we're going to be using volumes here, the volume measure and builder. What we want to do is think of this stuff outside of the box, so we want to make this geometry, I know a lot of people who would want to use x particles, some simulations to spill some liquid in there and then have some realistically looking splashes. But we found a way in the past to have more control over this without using dynamics and having to use all that hassle. First thing we're going to want to do, if we go to the frontal view, I think if we go to isoforms here, it'll be easier to see through this thing. Here we go. The first thing we want to do here is maybe add a cylinder and that'll be, believe it or not, the base of the liquid. We're going to be taking the cylinder, and mind you, we're really not going to have to worry about what's at the bottom of this thing or if that even makes sense because the final render will be a still image. Remember this is illustration and we don't care what's outside, beyond the frames of the camera and what's underneath and what we can't see. So if we can create a cylinder right here, adding a fillet, just so it gets rounded out, to get a little bit more geometry, you can even bring this up a little bit. We want to get this to a point where this could be replicating some type of liquid. We are going to be deforming this stuff later. But as long as this stuff isn't clipping like that, I think we're good. We can take the radius down on the fillet, something like that. I think we're in good shape because this theoretically, looks like a full glass now, even though this is clearly only taking up like the top half of the mug. So what we're going to do is grab this and we're going to take the cylinder and put it in a volume builder or measure. So we're going to go up here, we're going to go volume builder actually, drag this on top. Now you'll see this sketchy 3D view, which I actually don't really like. A lot of people previews with this, but I just prefer to go to the volume measure straight from that. Now we can see what's going on here. We've got some subdivisions, that's definitely way too low probably. So we're going to take this voxel size. This is synonymous to resolution, 3D resolutions. So let's get down to five. The lower the voxel size, the higher resolution your mesh will be. So let's go down to three maybe. This will get us somewhere. You'll notice now if I were to drag something like a sphere, let's move this up, t scale down. I'll drag this into the hierarchy above or below the cylinder, it really doesn't matter. This could be used and add it to the mesh. This is a really good way to make bubbles splashing up and down doing whenever you got to do. We'll do in this case is let's try grabbing a helix. There's a bunch of different ways you can mess with this. Every single time I build out these liquids, I tried to do something different because the volume measure and builder are just so powerful and the things you can do with them are just endless. Right now we just see this is a helix, so it doesn't really mean anything, but think of it as general future mesh that's going to be disrupted and will act as liquid. If we want to fill up the space that we want, let's go to the end radius, bring that down like that. Then take the height up a little bit. Then maybe change the start angle and get a little bit more spline action in there. Then take the height bias and move that towards the bottom. So we get a little bit more towards there. This should be good for now. I've used this for whip cream, I've used this for a lot of stuff. But for this instance, I'm actually just going to be using it for liquid that's splashing up. We can change these parameters later. What we want to do is grab the helix and bring it into the hierarchy. You can see already we are getting some cool stuff still not looking like liquid by any means. But what we're going to do is take the volume builder and decrease that again. So let's go to two, a little bit more geometry here. Then we'll grab a smoothing deformer. Right here we're going to go to smoothing and drag that in-between the mesher and the builder. That's going to smooth everything out. Usually I like to really crank this down stiffness to zero, iterations to what? Forty-eight eight to start. The cause and effect of that is now that we're really skimping everything off. So we're going to need to add a lot more geometry to this spline, but that's easy. If we go to the Volume Builder, we're going to go to the Helix and crank the density up to like 1.7 or something, you want some density in there. The radius is where we're going to see the magic happens. Boom, all these stuff. As you can see, this goes from just the stringy little noodle thing to honestly, liquidy. Still not looking like anything we would drink. This looks like a Cheeto being dipped in something, not what we're going for. But we'll see here, everything is going to start to go crazy once we add some fields in there. Specifically a shader field. So what I'm going to want to do is prep this thing to be disrupted. All we need to care about is a general shape here, not the specifics, not whether this looks like liquid or not, that's going to come. What we'll do is go to Builder and take this volume type, this is important, go to Fog. Now that will enable us to use something called a shader field. So if you go under Create, Field, Shader Field, we're going to drag that on top of the hierarchy. Then we're going to go to Volume Builder. Then we're going to go from Shader field, let's take that to minimum. So it's going to subtract from this whole shape. Then we're going to click on the "Shader Field" here and go from Box to Objects. Now this is where this stuff gets interesting. We can go back to the shader field and under the field tab, shader, noise. We can see we're eating away at this general shape we had. If we take the helix within the volume builder and we bump up the radius again, now we can start to see stuff happen. This is all just a plain game between the shader field and the resolution, as well as some of the voxel range threshold. Cranking this up or down depending on the look you're going for. So we can check this noise and- let's just change the noise around see what we can come up with. A lot of these noises are not going to show you immediate nice results by default you'll have to play with the high and low clip. Let's go to the global scale like 250. Looking good. Sometimes you can take the stiffness back up to add some more going on there. Let's go volume mesher playing with these guys here. Maybe taking the volume builder down to 1.5. Now at least we got something that's looking like some material. It's not perfect by any means, but we're going to take this volume mesher bring it- that'll be good. Let's go take the helix and remember, none of this stuff is destructive, so we can still take the original helix. If we uncheck these guys we still have a helix here and then we can take the helix and just decrease that so it morphs into this object. Really we could just move this helix around, still mess with the original helix parameters, radius, angle. We can add on to this helix. You can see it's adding on here the height and the height bias of course. Here we go. Now we're at a good starting point here to where we can actually add onto the geometry and yes, we have a lot of geometry here. But since this is not going to be animated, it's just for a still image, we don't really care about the resolution too much. Obviously don't go crazy. If you go too low with this number, you'll get some errors and it might crash your computer. So I wouldn't go below one in this case or even go near one. 1.5 is probably the lowest I'd go unless you have a really beefy computer, but this looks good. We can do is add our own splashes. If we take the pen tool and go to sketch, we can literally sketch out some cool little splash designs here. This looks weird and this doesn't look professional at all. But I'm telling you, this thing can really turn into something that looks like some awesome splashes. If I grab the spline and drag it underneath the shader field, let's go underneath here so that the shader field will still affect this. Let's take the density up and the radius. Now look what happens. It looks like this thing is splashing everywhere and that's exactly what we want, and it's so cool because these things are still able to be manipulated. We can still take certain points- if I just take the cursor and just move some of these back, it's all just affected. That's the coolest part about this whole process. Nothing is destructive. You don't have to worry about dynamics happening to run into each other. If you're like, oh, it almost got to the point where I wanted. You have full control here. This looks like a liquid finally or a shake that's splashing and something hit it. Very cool. We're getting somewhere here. Even though it doesn't necessarily look like coffee, the way we'll texture this will automatically make a lot of these. It will close a lot of these gaps and make a lot of things make sense. This is looking good. We got a decent amount of polygons. If it's too heavy for your computer, I would suggest just going to the volume mesher and just clicking on the up air of the adaptive sampling. Because this thing is so abstract and splashy, turning that thing even all the way up isn't going to really do anything. You could really create this thing with a lot less geometry. We're looking good and I think maybe we'll add an ice cube in there. We'll prep this thing for adding a couple of ice cubes, drop it in there. For the ice cube let's just grab a cube, move that up so we can see it, scale it down to the size that you think might work. We got to think about this like it's a story, what happened here? Maybe the ice cubes are causing this big splash. Maybe if the ice cube's a little bit bigger might make more sense. We're going to go here and create a fillet and then I'll create these beveled edges that we'd want for this ice cube, and that looks pretty good. You could do whatever you want. This could totally work if you just work on the shading or the roughness. You could totally nail down the texture for this cube if you wanted. Let's drag that somewhere in here and mess with this. It's hard to see now, but if we take this and put it back into the coordinate system we can duplicate it by holding control and rotating it any which way that we prefer. So now we got a cube here, a cube here, and maybe add one more. I think that might spice it up a little bit. Maybe make it a little bit smaller. That's looking good and I think we're pretty good for this geometry at this point. We've got one cube, two cubes, three cubes. Again, it's okay if it runs into this geometry because these are both going to be specular materials. So them running into each other really isn't going to be too big of a problem at all. This thing has some life to it. It really looks like this stuff is jumping off of the page and we're getting somewhere here. I think I wanted to add some bubbles to this coffee, but I think we can add that later once we get to the shading portion. But this looks good. Next step, we're going to light this thing so stay tuned for the next step guys. 4. Lighting: Hi guys. Welcome to the next section. This one, we're going to be talking about the lighting of this object. We have some nice ice cubes here, some nice coffee splashing everywhere, and we're looking good. We want to be able to light this thing to the point where it looks pretty realistic before actually texturing this thing. I like to light my things a little before so I know that my texture is going to be reflected correctly based on the lighting we use. What we want to do is, of course, we're going to name these. We want to group these. Select them Alt G, and just call this IceCubes. Then collapse this guy; this will be Liquid. Then this guy, of course, will be Mug. If you want to collapse all of these and be really organizing, we call this Subject. Cool. Now, we have a nice little hierarchy of things here: IceCubes, Liquid, Mug. We're looking good. Let's add a Camera, just so we know where we're going to be looking through. Hopping into the Camera here, just like this, and let zero out the coordinates, so zero zero. Then now, we can keep the Z coordinate as is for now, because we're going to be zoomed out, of course. What I like to do is, I like to go to "Portrait Mode" because this gives a nice depth here, but it gives the mug more empowerment, and as cheesy as that sounds, 100 percent true. We're going to zoom back here. Depending on what you're going for, sometimes you want a wide lens, but usually, my workflow is, I like to have a higher focal length, like an 80 millimeter, and step back, instead of being really close to it with a wider lens, because that's how you get some bending deformation. But of course, sometimes that's what you want. It's just knowing the little background in camera and cinematography. Just knowing those parameters and what you're trying to convey. If you're really trying to make this look empowering, being eye level with this guy here and then moving the rotation, so you're like angled up. Now, if anything, you're like looking up at the mug a little bit. If you'll see here, you're a little bit lower looking up at an angle here, and that's good. Next, what we want to see is, I think we're going to be bouncing this out as a square. If you go to the Settings real quick, the Output, let's lock this ratio, 1,200 by 1,200. Everything else can stay the same. Octane Render, we're going to be using that, just making sure you got that set. We're looking pretty good. If we go Shift V, we can go to 50 percent, so we'll have some nice clear borders here. If you want to be really organized, let's go to the "Composition" grid, making sure you're within the rule of thirds here. Then we're going to take the Camera, right-click "OctaneCameraTag". You're going to want to make sure you have that. Of course, I always like adding a base to my stuff, so a "Cylinder". What more could you ask for? Then we can move this thing down, so that it is properly underneath the mug. That's looking good. We're going to add a little bit of fillet here, a radius. Just so when we do add some claws or something to this thing, it'll go off a nice little highlight. We could take the Rotation Segments to 120, and this should be good. I'm liking this. We can maybe even zoom in a little bit more if you want some detail there. Taking the Z -axis, of course, and then maybe looking a little bit more up at this coffee mug. We're looking really good. Don't forget to save so you do your command S. Where do I put this? Let's go to Skillshare, PremiumClasses, CoffeeMug, and just call this Class_ CoffeeMug_01. Now that you're all saved, we don't have to worry and now we can really just start working with octane. If you go to "Octane", "Live Viewer Window", this is nice. Let's drag this to the right here. Now, we have a nice little bit of a glimpse there. I guess I didn't put that in the right area. There we go. Now, we've got the Perspective View and the Live Viewer Window. If I uncheck the Pause sign, you click "Render", this is what we got. That's looking good. If you go to "Octane", "Octane Settings", you'll want to have this docked somewhere. But I guess for now, we don't really need that. We want to preserve screen space. Usually, I'm using one or two other monitors. We're going to want to make sure we're at Pathtracing. Set this to about 200 for now, for the Max samples, and GI clamp, put that to one. That'll prevent any fireflies, or hot pixels that come about some of these specular materials that we're having. Then I like to take this and put the Lock icon on, so I can freely move around the Window here and I'd like to see the borders. That helps me. The first thing we want to do is, go to "Objects", "HDRI Environment". What we'll do is pump in some color. Now, essentially, it's the same thing we just had. But what we'll do is bring this down a little bit, because we want to create some lighting from our own lights and some nice harsh shadows. What we'll do is, we'll have this color being bumped out at it. But we'll also want to duplicate or create another "HDRI Environment". Under the "Type", let's go "Visible Environment". Now, we have a color that we can manipulate here in the background. We can change that to a Color, but were still being lit by this one. Just keep that in mind. We can now work off this. If I go to "Objects", "Lights", let's go to "Octane Arealight". Now we can obviously manipulate this stuff here. I like to take something like this. Let's zoom out here. Rotate this 90 degrees. It's like a overhead light. Drag this up, and then just playing with where this light is a little bit, maybe even increasing the width here. Notice we have some harsh shadows or some harsh clipping highlights here, that is no bueno. What we want to do is, before messing with the light, making sure that our Check Camera is on, because any Camera settings we change will be seen over here. Now, let's go to "Camera Imager". Enable Camera Imager and Highlight compression. Take it all the way up and you can see we just recovered a lot more info. Still being clipped on top, so we want to go to this tag and just bring that down a little bit. But now at least we're getting some dramatic lighting here and maybe even decrease that a little bit, creating one more light. Maybe you can just Control drag and create another one. This will be Left. What we can do is just drag this light to the left, rotate that 90 degrees. We're getting some nice lighting, heating it from the side. This will also give us a nice shadow over here. If we remove that, we won't really have as nice of a shadow coming from these objects. This one can be our key. We're going to increase that light a little bit. Decrease this one maybe. We're looking good. We got a nice little shadow there. This is looking good. We can save there. We have lit this thing for the most part, we want to light this a little bit more maybe once we see how this works with the texturing. But I think for the most part, we're good. This comes down to what color you want, the background as well. If you want this thing to be a white color, you just go to "Color", White. You can change the brightness. You can tone it down a little bit. You can even make it green if you wanted, you could do whatever you want it. But we'll just keep that at white for now. This looks good. Join me the next section. We'll be talking about the texturing of this thing and how we can really bring this to life and we might even add some bubbles to the coffee. Thanks for checking out this section. 5. Texturing/Rendering: Hi guys, welcome to the next section here exactly where we left off and we got some coffee here. We've got everything set up, the lighting, we just need to texture this thing. The first thing we want do is, I guess let's work on the mug. The easiest thing, let's slap on a material, mugs tend to be glossy, and honestly, for the most part, the mug is the easiest because, unless you want to add some definite dings and Leno bump on this thing which we could do. Yeah, we want to stick there with the gloss. You can see we have the reflection of the light. I don't really like how the light dips down there. We often maybe manipulate this a little bit just by dragging that up. Just so we get some nice reflection there. That should honestly be good. For this color, it looks fine, maybe we just dim down the color a little bit for now, just so I can see this mug popping out. The next thing we can do is work on the coffee. This part is really fun. Essentially you start off, let's see where are we, let's go Material, let's go Specular Material, and we'll drag it on the coffee. Already, we are getting some nice details here. Before you work with this, it is good to note that you'll want to go to the visible environment, aka the color in the background, and make sure the Refractions tab is checked. Because if you'll notice, if I made this green, the liquid would still be portraying what the HDR environment is showing. If you go to Refractions, that'll just make sure this thing is showing everything correctly. This thing is just the ice cube in there, which is not transparent yet, but they're looking good. What we want to do is get out the Node Editor by double-click on this thing and clicking "Node Editors", so now we can get rid of this thing, and so everything corresponding to this texture here, will be in this guy right here. We can name this, Coffee, and of course, we have the coffee node. This is definitely not looking like coffee yet. We're going to want to go to Common. Anytime you're working with anything transparent, I like to click "Fake shadows" so that the lighting hits it correctly and irradiates inside correctly. The next thing we want to do is go to Medium, let's go Scattering. Now we're getting some, for the first time you're seeing some transparency, and scattering in this liquid. If you want, let's actually get this off of green because we really don't need that. There we go. This would be a good time maybe if you want to zoom in on the coffee, so you can see really what's going on. A lot of times I like to zoom in and make sure that rendering is not going too crazy, so I'd go to the Settings, and maybe make that 120. It won't go too hard and your graphics charts won't work too hard and you'll be able to see what's going on here. We've got some like black tar looking stuff or maybe like some watercolor paint splashing in the air, which we definitely don't want. We're going to go to RGB spectrum, drag this to the absorption. This is where I'll be able to pump some color into this thing. Right now we'll set it to white, for now, pure white. We'll also want to make sure that the, what do you call it, transmission is set to a 100. This is where we can start to get funky with this. Let's go to, what do you call it. Let's go to a coffee color, this right now is like some kool-aid stuff. Let's go to like a brownish color. The difference between this and real coffee is, coffee actually has some like weight inside of it. We'll need some Float tab, which is literally just a value between zero and one. You'll drag that into the Scattering tab. Now, you'll see this is more like jelly, so we have some like actual, a light is hitting it in radiating, but we don't actually have any full transparency at this point. We'll want to drag, we want to get some more coffee going here. Really I'm going to drag this thing to a lower value. Because we don't want this thing to be like jelly really. We want to be able to see through some of it. We don't want this thing to be pure red either, so we can drag that down. Now we're starting to get some of the look a little bit more like jelly or a hot chocolate. So we're just messing around with these values at this point. I think we take the density down, and dragging this guy up, taking the transparency, maybe getting that to a little bit more of a yellow color. Something like that. Maybe dumbing down the light here. It's a mixture between transmission and the absorption color. I want to drag a little bit more, pump a little bit more into the absorption. You can see what happens when you change these colors. You'll see whether you get to look you're trying to go for or not. Bump a little bit more light in there. Then also mixing with the density. We will want this thing to be pretty dark. But I don't think coffee, we don't want it to be that opaque, so we'll drag this down a little bit, I guess we want maybe a tiny bit. We can go to the transmission, bump that back up a little bit. See what happens if you bump it down. Honestly lower value might be nice in this case. Let's see, just messing with the color here. I guess in coffee you don't want it to be too red, or you probably want this thing to be a bit brighter, so maybe lower on here and then we'll want to take the density down. Not too much though. It's just a playing game of, full density, you just got some black tar. You want some light hitting this stuff, but you don't want too much, and you get the color. Yeah, we definitely don't want that. I'm definitely getting happy with this result here. I can minimize this for now. Now, we can start to play with the liquid again. If we go to the Object, we can really just add onto this liquid, or subtract based on what we're looking for. If you don't want this stuff to show as much, we don't have to. If you want this thing to show a little bit more, we can. But this is actually looking good for me in the coffee room. This looks good. Next thing we want to do is add some bubbles to the coffee, this part's pretty fun. I think in usual coffee we want some bubbles along the lines here, and just we want these things to look as realistic as possible. The bubbles, of course, that is a sphere. Of course, this can be low poly, it doesn't have to be anything crazy. What we want to do, is because we're using octane, what octane really does a good job is instead of using the cloner, where they can get bogged down pretty easily, we'll want to go to Objects, Octane Scatter. This is essentially octane's cloner, we'll drag the sphere as a child of the scatter. Then in the scatter, let's go to Distribution Surface. Then we're going to drag the liquid. Now we can see, all these balls being or feature bubbles on this thing. If we take the Sphere, let's take it down to like 1.9 at even 0.9. That should be good. Next thing we want to do is go to the Octane Scatter and add an effector. Remember all these effectors affect the Octane Scatter the same way it affects the cloner. The only difference is it won't be added directly when you click it. You have to that yourself. Let's got a Random, let's go to the Scatter, Effectors and drag the random on there. Now, you'll see all these things are going everywhere because of the Scatter here, or the Random Effectors. Let's go to Position, zero. Let's not have any position, and scale we'll want to mess with. Let's go to the Uniform Scale and drag that to like 0.38, something like that. Now we're getting some nice staff. These are bubbles that might look nice, I think we can obviously take this down to like 0.75 for these spheres, make them real small. Then Octane Scatter. Let's go to like 10,000, and we're getting a lot more. After the bubble material, it's actually pretty interesting. What we want to do is go to Materials, Glossy Material. We're going to drag that onto the sphere, and double-click here, Node Editor, you can get rid of this guy, and very simple. We're just changing the opacity now. Obviously, if we change this down to like zero. Honestly, they're already starting to look like bubbles. But we don't want to mess with just the float of the opacity, we want to make a falloff. Grab a falloff node, drag that into the opacity. Then now you'll see if you really zoom in here, you'll see these things. Now messing with the falloff skew factor, we can get a nice result. The difference is we don't want these things to be white, we want these things to be a little bit of a different color. If you grab the color picker and grab like a coffee color. Now we can see we're getting a nice color, so we just drag this up a little bit. We want to see some of the color here. We drag these all the way up, maybe less saturation on the color, a little bit brighter. Maybe a little bit more towards brown. Now, we're getting some nice bubbles here, but I think they're a little bit too uniform. You'll look at it and it's like, okay, it looks cool but really uniform, looks a little bit weird. What I like to do is go, let's really turn these down, let's go actually to 0.5 now with these bubbles. That helped a little bit, but we'll also want to get rid of some of them. I think we want to pump in some more as well, so let's go to 50,000. Now, we've got a ton of bubbles,. That looks really cool, but want to get rid of some, of course. Let's go to the octane scatter, shader, noise. Now, if we move this minimum value, it'll take them away from certain places of the liquid. Now, it's just a messing game with these values, and being able to say, okay, let's maybe take this down to 50. Low clip up. You can see now, we're getting some clear edges where we're not getting bubbles and some places where we are getting bubbles. This is really cool. Maybe we can increase this back to 100. I can see this parts where there's no bubbles, parts where there's bubbles. I like to keep this down to maybe 40, pretty small scale, so it's hard to tell where you got bubbles and where you don't, and then just messing with the seed. Finding an area that looks good where you have just the right amount of bubbles in the certain places. I can go back to the scattering, go to 80,000. Just being mindful of your computer and its settings. So if we go to the sphere, let's maybe go down to 0.35 now. Now, it's just really fine tuning these bubbles and making sure that looks good. To me, this looks pretty good. I mean, we can probably stop there or I can keep going, if you want. Maybe taking the random factor and making that like 0.8. You got some pretty big bubbles and some tiny bubbles, maybe one. Here we go. Even if they collide with each other, that's not even bad. Let's actually take the gloss. Actually, no, that's good. It's looking good with the coffee, that is very good. I'm happy with that. Now, it's time to texture the ice cubes. Let's just take a regular material, specular material, going to the ice cubes and just texturing them all the same because I don't think it matters too much, and then going to the note editor. I think this can honestly be just driven by a noise. Actually, what we want to do first is let's convert this specular to a diffuse and drag the noise on here just so I can see what this looks like. We'll want something a bit more harsh than that. Let's drag the omega up, let's go to turbulence, and the actives to seven, increase the contrast. Now, we can see. Let's see. Okay, now, we can see what's going on here. We can see that these things are being affected by the, it should be a diffuse. Here we go. I see, it's because of the transmission. We'll take the transmission to zero, and now, we can see what's gone on here. I'm just putting this in a regular diffuse so I can see exactly how detailed this noise is going to be and where I would want to change things up, take the contrast down. Yeah, let's take the projection and UV transform. Let's take the projection to box. Yeah, that looks much better because we're trying to replicate frost on the ice here. Now, if we go back to specular and we drag this instead of on, which doesn't even exist now, the diffuse, we drag it on something like the bump. That's looking much better, or we could drag it to something like the roughness which actually looks good still. Now, it's just messing with these values, taking the Gamma, increasing the contrast, and then maybe even duplicating the noise, and adding one in the bump. Now, you can change these values up as needed. I would maybe increase the contrast for these ones to add some nice bumps here. That's looking good. Yeah, I think that for the most part, it looks good. I usually want to keep these things organized so if we drag this over here, that's looking good. This ice cube is looking a little bit transparent to me, we want to rough that up a little bit. If we take this guy up. So I think what we can do actually is let's take a color correction node on the roughness and drag that there. Now, what we can do is just boost up the brightness here to create some more stuff going on here, as well as increasing the index. Let's create fake shadows here. Messing with the index, I think, will help a lot. If we go index, you can see, we're changing everything. Now, they're like metallic. But yeah, if we go to something like 1.79, that might be nice. Usually, you'll want to stick with the index of the actual object. But again, with everything else, it's how it looks. I think we should be, for the most part, good there. There are few things that we could do, I'm just trying to think where I'd want to go with this. Maybe even adding a little bit of displacement just to get this thing rolling. But I think what I'm going to do, let me see. This might be a little unorthodoxed, but it might work. If I go to the ice cubes and I have both of these into a volume builder and then into a volume measure, we're going to heavily increase or decrease the boxes size. Now, they're just like their own. I think this will help with the uniformity of the whole thing, so let's go 1.5. That's their own ice cube, and let's drag the material onto the measure. Then now, what we can do is change this again like we did last time with the liquid and go to Fog. Then I'm going to create Field, Shader Field. Let's go here and drag it on top of the ice cubes to be shader field minimum, shader field objects, and now, we can change some of this stuff. Now, we can have some stuff eating away at the ice cubes. It looks pretty cool, actually, so let's drag the high clip down so we just have some things like little bubbles in certain places, eating away at the stuff. That, to me, looks pretty good, I'm not mad at it. Let me just get a closer look here. Maybe you can smooth some of this stuff out. Let's have a smoothing deformer and put it in between the measure and the builder. That looks good. I think we can just make this like 1.5 to 1.3, and that's looking good, I'm happy with that ice cube. If you want to make it look a little bit more wet, you can just chill on the roughness. There we go with some splashing coffee. So far, we're looking good. We got the white mug, we can probably put the same material on the mug as on the platform. Now, it's just messing with the background and seeing what colors we like most. Let's drag this out. That might pop out the most. I'm trying to see what would look best stylistically. Maybe we can copy this material, drag it on the platform here, and maybe we can make that a black or something. Yeah, I think that looks pretty good. Yeah, it looks pretty good. Now, you can even do things like changing the color of the mug. So if you wanted that to be red or brown, whatever you are trying to go for with the mug. Just to make this thing a little bit more dynamic and realistic. Now that I look at it, maybe this thing could use some materials. Let's go to the glossy material on the mug, and all we got to do is go to the Node Editor and just for a simple quick material let's just go to something like the marble, just like that and drag it into the roughness. Now we can see automatically we're getting some nice roughness texture here. Let's create a higher Omega, so it's a little bit more detailed. Let's go to the color correction, messing with the Gamma you can really choose how frosty this thing is versus how glossy, so if we just make everything somewhat uniform, let's go to Projection and UV Transform, take this down to box, and increase this. Keep going, it's okay. There we're seeing a little bit there and this might be a good idea to put this into the diffuse just to see what we're looking at, this is definitely not what we're going for here. We can go to Offset, we'll pretty much want, for the most part, some detail in there. Let's increase the size here, let's go something like that, increase the variance and the omega let's increase make it more detailed, that would be a good map. Now we can delete it from the diffuse. What just happened here? Let's rerender this. Okay, I think we lost something here. Let's see. Wait a second, we're in the roughness, there we go. I guess I just glitched out for a second. Now we've got a nice little frosty mat here, let me just take the brightness down, something like that, a little more contrast maybe. Lessen the brightness. I'm fine with that, looks good, I don't want to be spending too much time on this. But that goes for whether it's a black mug or a white mug, I think maybe black might be cool actually, let's see. Yeah, it's pretty uniform, I'm trying to see if that would make sense here, maybe we can bump some more of this key light on the left, just to make it a little bit brighter and cooler to look at. Take this color, cool, I think this is good. Now you can just mess with any of the camera settings that you'd want, like the Post-processing if you enable that, increase and now you can get some nice glare effects on there on the ice cubes, which is a nice adding some spectral intensity, which is like the film Bernie stuff towards the cubes. Then if we just pump in some more light and then take the Cutoff, which is a new feature, apparently in Octane which I really like. So you don't have to pump light into every section of this thing, only in the bright spots. That's really nice, there we go and we're looking good. That is it guys, I hope you enjoyed the process here that is basically the mug and the rest we can do is just tweak the Gamma, increase the brightness as needed and that should be good. Usually, you don't want to tweak these too much because you'll be post-processing and Photoshopping stuff, but I think that's pretty good. I'll go to my Render settings, Octane settings, let's go to 1,200 it's usually my go-to, then we can render this thing out. If we're happy with the proportions here for you, if you go to Shift V and opacity a 100 percent, now we can see the outlines here, sometimes I go to a lighter color if it's harder to see. But that looks good, and then I can click "Render". That's looking really good. We definitely have a funky-looking condensation here, but that could be more of a stylistic thing and you can honestly change some of the handle here, of course, but that looks good. We have a rendered image here and we should be good to go. Thanks again for checking this class out guys, I really appreciate it. I hope you learned something, let me know for the future classes. I know it's been awhile got the COVID thing going on, so I've been working crazy but making new adjustments. Please let me know the next feature classes you'd want to see and I hope you enjoyed it. Please send me any of the work you've done on Instagram, I'd love to share it. Thanks again for tuning in and I hope you check out the next one. Thanks. 6. Outro: I hope you guys enjoyed the class, I had a lot of fun making it. I hope you guys can make some really cool things with it. Please feel free to send me them on Instagram or whatever, so I can reshare them and show you guys' work off to the world. If you guys have any other suggestions for future classes, I'm always ears. I've had a little bit more time recently to bump these out so I'm always going to be trying to make some more classes in the future. Do you have any suggestions? Hit me up on Instagram or something like that. Will see you in the next one guys, appreciate it.