Cinema 4D Tutorial - How to Created Stylized Grainy Cel Shading

everybody it's EJ from I design comm and today we are going to push a little bit beyond just traditional 2d cell shading in cinema 4d we're going to style it up a little bit we're going to class it up we're going to create some fun noisy grungy stylized 2d cell shading in today's tutorial so let's let's get started this is what we're going to be creating here we got this really cool stylistic noisy grunge DUP kind of composition shading here and this is a 3d object right here as you can see and I'm just going to show you how to break this down and we're just going to start from scratch going to create a whole new composition I'm going to go into my content browser I'm going to grab from my newest sketch um tune pack version 4 that just came out I'm just going to grab those sunglasses so just double click you know close this down and just look through the camera here and let's go into interactive render region because you can never see what the dang cell shaders doing without having interactive render region on and let's bring this little triangle guy up to the top so we got full quality going on and this is what our render looks like just straight out of the box from the sketch and toon pack but what I'm going to do is just recreate the textures here all together so I'm just going to go into my color here my pink color and just blow out whatever was there before and I'm just going to work in the luminance channel here I'm also just going to get rid of my light as I want to start from scratch as well so we've got our camera it's set to parallel that's like a flat camera a kind of view that makes everything in 3d look very flat so that's very important and we're just going to build our cell shader material and we go grab my cell shader from the sketching to menu Boop there we go and by default our camera is actually a light source that's why you can see that the hottest or the brightest colors are coming straight from our view so to do to change that we just need to uncheck the camera and then turn on lights but since we got rid of that light in our scene we need to create a light so let's go ahead and do that go into my light menu and the light source I like to use is the infinite light and that is because it's just a massively giant light source it creates this nice flat lighting and I'm also going to use raytrace hard shadows because we want nice and sharp shadows and the thing about the infinite light is it doesn't matter where it's positioned in your scene it's all about the angle so what I'm going to do is just rotate my camera or my light here my infinite light you can see that that is the thing that's actually changing the angle of light source so I like that I like we have this nice little highlight going on on the top left so now we can go back into our cell shader here and start messing with the colors so we got three shades of blue and I just want to change this back to that kind of hot pink magenta II kind of thing it takes a man to use hot pink magenta in there three work I'm just saying it laying it out there and we're just gonna get some hot pink good stuff going on there we go and that's looking good maybe get a little bit hotter there it's getting hot in here this hot pink there we go alright so that's looking good I'm digging that so graininess this is actually fairly simple so we got these nice sharp cartoony cell shaded type of stuff but to add grain to our associate it's actually very very simple we got two steps to do first is to go into our bump channel and load up some noise and right now we just got to turn that on first and you're going to see that actually nothing happens at all what's going on here well I'll tell you we got to go into to actually have our cell shader recognize the bump channel we have to go into the cell shader and we got this handy being option here called use bump and all we need to do is say hey use that bump and there we go now it looks all blobby it's actually calculating the noise that we loaded up in our bump channel so now we can actually adjust this and you'll see it update in our viewport so we can have this look very bumpy and kind of blobby ish which is you know that looks all well and good but what I want to do is actually make this very noisy so we're just gonna shrink the noise down and I'm just going to go to the global scale and say let's try to and that actually looks really really good we got this really nice grain going on looking good and that's just you know adding noise and using the bump and just making sure we have this used bump checked on but let's actually turn on some shadows so right now we're only using the light and even though by default I have the raytrace hard shadows turned on we actually have to manually turn on the shadows because by default cell shader just comes in loaded up with that with it turned off so I'm going to go ahead and turn on shadows we can kind of see the difference here you can kind of see it very subtly especially right down here you can see the shadows kind of activate you there we go and one thing I like to do is we have the the shadow options here and right now it's just kind of set to multiply and what I like to do is control the light color by actually using the light shadow so what will happen is that will actually go black where all the the shadows are being cast the shadows go black and that's because it's using if I move this out of the way it is using the actual color set in our shadow on our light so to change the color we can change it to like a maybe like a blueish like dark blue and you can see that that updates and it's actually taking the color from the color that we set in our light so I always like to use that because then I can control the cell shade or shadow color globally with my light so that's all well and good actually what I needed to do now is this blue color actually need load up a cell shader as well so I'm just going to duplicate this blue color and just rename that glasses and then since I already like the setup of what I have in my pink cell shader I'm just going to copy that whole cell shader and just paste it do a little pasty doodle right there and let me make sure that I apply that texture onto my lenses so here's my lenses right here these two disks and I'm just going to go ahead and select those two blue materials and just switch it out with the glasses and now it's that pink and now I can actually go into my cell shader and start changing these colors to something a little bit more blueish shall we so let's go ahead and I can actually sample that original blue we had there so that'll be a light color and let's see we don't we need to actually load up a bump so let me actually do that so we can have a little bump grainy action going on with our glasses so let's just paste that bump that noise in there go to luminance okay that bumps turned on light shadow let's just bring these nuts down and let's see what's going on actually I know what's going on what I need to do is these two guys are facing the wrong direction so we're actually seeing the backside or like the shaded side so I just need to go and do negative Z boom there we go now it's actually lit correctly so that just the little maintenance I had to do there and now we can go in here and start messing around and see how much of that grain kind of comes in here and one important thing to know is with the bump the strength kind of blurs the the grain out you can actually see that in our preview here the stronger our bump strength the more blurred out or scattered our noises so for the glasses I just want a little bit I don't want to see like all these specks like that so you just a little bit like that and again we can also go since everything is controlled by this light we can adjust this as well let's looking good cool so the next thing I want to do is finish this up and actually have some shadows being cast onto a background so what I'm going to do is just create a floor so I'll just create a plane and just move this down now kind of angle my parallel cane we can see that because of the my parallel camera everything kind of looks flat and I always like to say it's like a SimCity kind of view it really helps the illusion of forcing your object it look more geometric and therefore kind of flat so we just remove any kind of camera distortion with the parallel projection versus perspective you can definitely see some of that camera distortion or that depth Distortion so there we go and you see that parallel flattens it out all over again so I just want a little bit of an angle so I can see the shadows there right and what I'll probably need to do is just kind of scale up my plane there and there we go and what I need to do is then apply a color to this this new floor this plane I'll just rename it for so we've got everything all nice neat and make sure that it's just right below the glasses so there we got that all set up and so what I'm going to do is just duplicate the the glasses cel shader material I'll just rename this floor and I'll just reuse this whole entire setup now the thing with before is we're not going to use the bump or anything like that we're actually just going to use these two shades of color let me apply this to the floor and you're going to notice that the the noise is kind of not working as expected or as we'd want it to sometimes we need to kind of adjust these knots to make sure we don't have any spill up you can see that we don't have any noise in our shadow so what we're going to do we're going to fix that and the first thing I want to do is actually change the color of our background and our for something a little bit darker perhaps something like that it looks good maybe desaturate that a little bit more I'm just going to delete that not and just make this a little bit darker and something like that I don't even think we need another shade so maybe we'll be good with just that so now what I want to do is get rid of this whole black space right here so what I'm going to do is create a background and then just duplicate this floor this will be BKG there will be your background texture I'm just going to blow out the cell shader because we don't need any cell shading we just need a solid color in here turn off the bump and then we'll just apply that to the background a fill in that background space and we'll recenter up there all right so these pain-in-the-butt little shadows here how do we get grain to show up in our shadows we have it showing up on our cell shader you know highlights and all our little tritone colors here but we need it on our light well what happens with lights and how we can add grain to lights is we can actually use it as like a globe oh and what that is is it kind of you can use a texture to kind of give texture to your light so it looks a little bit more natural but what I'm going to do is actually use like add material with an alpha with a noisy alpha to then have it almost like blocking out like act as a screen to my shadow so let me actually stop talking and let me just actually show you what's going to go on so I got my off I'm going to turn it on I am going to apply this to my light yes you can apply materials to a light and since everything is just black it actually just alphas out and blows out our light so remember with an alpha whatever is black does not show up whatever is white does show up so all we need to do is load up some noise on our texture and we can actually just stay consistent here and just grab the same exact noise that we have loaded up in our cell shader materials and just paste that in to our alpha and you can see it's very subtle probably need to adjust the contrast here but you can see that grain that now shows up in our shadow from our light just by applying a material with the Alpha Channel and you can kind of see what's what's going on it's almost like you put a piece of paper with holes in it onto a light and you can then see that that kind of the light peeking through through the noise here and creating this kind of noisy kind of thing you can see this even more if I bring this up 50% you can see what I'm see when I'm laying down here what's going on there so I'm just going to bring that global scale down to zero but the thing is is that you know for certain looks this could be cool but for what I like to do is the look I like is that we actually have this shadow fade off and have some fall-off so you know what we could do is go on or fall off and you can see already that stuff's kind of janky and I'm actually going to change this to linear because you can see all that funky stuff happening and I don't know what's going on there but I think it plays more nice with linear yep so what I'm going to do is just adjust the fall-off and you can see that kind of fades it out really nicely and this works well when you're just dealing with one object because again if I go into my top view you can see here's my light here's my fall-off and what if we had multiple objects in our scene well if it's beyond that fall-off that shadow is not going to show up right so this can work in certain situations but not all my second method for getting noisy shadows still involves using a texture let me open this up again in the alpha channel on that on a light but this time what we're going to do is use some ambient occlusion now what's going to happen is you can see that it's all let me actually turn off image alpha so we don't need image elf and that can kind of cause us some trouble so what's going on if you know how the ambient occlusion works it is a plot it applies shei when objects are close to each others you can see our shadow our light shadow is only showing up where our objects are close together like in here and definitely on the bottom here and if I crank up the Ray length to kind of spread that out a little bit more you can see that we're seeing more of our shadow here well this is this is kind of what we want we want that fade off to happen not based on one single light and the lights fall off but actually objects distances from one another and distances from this floor because we had multiple objects here on the floor this this solution would actually be way better but you can see that this isn't exactly grainy at all it's just kind of a faded out a shadow that is not too sim not too unsimilar dissimilar I don't know one of those is an actual word dissimilar I think from our actual light fall-off option so to actually introduce some grain to or an ambient occlusion we just have to bring down our samples here right and then once we do that boom we got some grain going on in our shadow and since that the ambient occlusion is knocking out where our shadow actually shows up this is our result so it's acting like some noise only because it's ambient occlusion it's actually noise from the distance between two objects so we can actually go in here and adjust the ray length again to make that a little closer or we can make this even bigger so we get longer shadows we can adjust the color here and you can see that because we did that we actually got more darker colors showing up here which actually looks pretty cool and again this is going to be very fast because we can turn down the accuracy we can turn down the samples and you can see that it just renders super super fast as opposed to bringing up high samples in here so uh that's basically it we have our grain because of our little Globo and again we can go into our light maybe we think that's a little bit too dark of a shadow we can go into our color here again since all of our cel-shaded stuff is being controlled by the light color we can adjust this very simply and easily maybe people may want that that kind of cut actually looks like garbage so let's do like a purple I like that a little bit better okay so we just to recap we have the IO kind of Globo material that's applied to our light that has very low samples in our ambient occlusion therefore causing this kind of grungy noise for a shadow and then for our self shader materials here to have grungy noise we simply load it in a noise channel to our bump channel went into our cell shader activated that use bump that kind of blur everything out and that created our grunge enos on our cell shader one other thing is we're not limited to having like no interpolation or no blending between colors we can actually introduce some smoothing between these colors and you can see exactly what happens right away if I just readjust these colors we have more gradation between each shade of color and you can see that you know stylistically this is a lot different and you know you could maybe like this or maybe not you can see that adding a little bit more color or a gradation between the shades blurring between the shades kind of adds a little bit more a little bit more interesting look so depending on where you going for it still looks pretty dang 2d right so depending on what look you're going for that's that is an option for you right alright so let's do low what did we learn today well we learned how to use the use bump option and a little bit of noise to grain up our 2d cell shading and then we discovered a few different ways that we can actually get that grunge enos and apply it to shadows using little Globo materials on our shadows in applying grain to our shadows through material or by using your ambient occlusion and doing it that way so hopefully you guys learn something I really like to see what you guys come up with with this nice little stylized grainy look if you have any questions ask me below and if you like this video make sure you push the little lucky button even if you're like hey you know is alright just like it anyways I'd really very much appreciated any likes I can get I'm very grateful and if you like some of the stuff I've been doing be sure to subscribe so you can keep up to date with all the crazy wacky cinema4d tutorials that I come up with out of my brain IAM and for you guys to watch so be sure to subscribe be sure to like and I would thank you very much for doing that I thank you guys so much for watching really appreciate all the views I'll see all of you in the next tutorial real soon bye everybody

Channel: eyedesyn

Views: 56,213

Keywords: Motion Graphics, Cinema 4d, 3D Modeling (Profession), Mograph, Tutorials, eyedesyn, c4d tut, cinema 4d tutorial, c4d tutorial, c4d, cinema 4d, maxon, cinema4d, mograph, motion graphics, add grain, cel shader, cel shading, cel shading in cinema 4d, grainy cel shading, sketch and toon, sketch & toon, cinema 4d 2d, 2d in cinema 4d, cinema 4d cel shader, light gel, grainy cel shader, c4d cel shader, c4d cel shading, cinema 4d light gel, 2d shading, cartoon shading

Id: 8SHNsKjnAgs

Length: 20min 47sec (1247 seconds)

Published: Tue Nov 08 2016