Cinema 4D Tutorial - Intro to UV Mapping with Bodypaint

body paint and UV unwrapping are probably two of the most requested tutorial subjects not only on eyes on comm probably all over the internet and I happen to know a couple very talented artists Kristen and koban who happen to know a lot on these subjects and we're willing to share their knowledge they both work at a studio called Edison creative and they just wrapped up a cartoon series called the axiom chronicles where they utilize cinema 4d to create 2d style assets in 3d and mixed it in with the actual 2d animation for this cartoon series and they were generous enough to share their knowledge with us so they're going to be covering a lot of their process a lot of their 2d workflows for creating 2d style assets and 3d how they utilize body paint how they did some UV unwrapping how they painted textures in Photoshop it's everything that I selfishly wanted to learn about body paint and UV unwrapping for a very long time so I hope you guys enjoy this a lot if you appreciate everything that they've done if you've learned anything from this be sure to send both Kristen and koban and an Edison creative a lot of love for taking the time out and again being generous and sharing their knowledge with all of us so without further ado take it away Kristen and koban hey guys welcome I'm Co Andrew dish this is Kristen Zahra yes and we are part of a crew from a company called Edison creative we've been developing a science-fiction action adventure cartoon series and we just completed a four-minute pilot trailer kind of thing and we had some really cool challenges that we feel like we overcame yeah and that challenge was that the cartoon is very 2d it's very two-dimensional but we wanted to build our ships and some robots and things like that in 3d so we could utilize the animation features of cinema to make them look awesome but we wanted them to blend in with our two stuff and a lot of people get real intimidated when we start talking about unwrapping you v's and making maps and stuff like that in in this case it's not difficult it's not something to get all sweaty and and goofy about it's really easy and it's and it can be fun believe it or not so we're gonna show you guys some of the methods we used to overcome that issue and make our 3d blend in with our 2d and some really simple techniques for unwrapping and texturing stuff so let's go there we go so let's take a look at Dylan's concept art and talk through our goals in 3d and what some of the challenges were up front so we decided really early on that we wanted to create the drones as a 3d element so that we could pose them at any angle render them as still frames and animate them in after-effects or in the instance that we wanted to make them fly we could also have the option of rendering a sequence in order to see a bit of perspective shift but the one thing we wanted to keep in mind was how could we maintain Dylan's art style and have them not look overly 3d so we noticed a few other things when we looked at his drawings that we knew were gonna need to mimic in cinema and the first was that the lighting was static if you look at Dylan's R you can see there's a light source that appears to be on the right side of the drone however it's not physically accurate because from the front there doesn't appear to be any change in the material it's still in shadow and so that tells us off the bat that we're gonna need to make materials that were independent of lighting so yeah that led us to using luminance shaders which are self illuminating and also allowed us to eliminate the need to do any lighting in our scenes you know one huge you know hurdle for us was we didn't want our 3d to look so 3d that it didn't blend in with our 2d and you know one thing that really helped that from the get-go was Dylan's design directive was that with there would be no black outlines around anything you know a lot of cartoons everything has a heavy black outline but we were going stylistically for something that doesn't have that and since we didn't we were able to you know get nice angles without having to worry about that outline you know tracing only the perimeter of the two dimensions we're looking at so yeah when it came to UV unwrapping which we're talking about in this tutorial we were really able to cut a lot of technical corners and speed up the process and that really was because the edges of the texture didn't have to be seamless in a lot of areas and that you know I'd hear Dylan's illustrative style and that also helped us create those hard edges to define the lighting like he had so yeah that was a huge win for koban and I and saved us a lot of time you know our main goal was to be able to pretty much capture these drones at any angle and maintain Dylan's art style and I think we got there you know the art direction changed a little bit from that drawing to the final product here that has a little more texture and a little more detail to it now we're gonna move on and show you guys how we did it alright guys so we're here in cinema we're with our drone model and we're only worried today about unwrapping this main ship body so we're gonna solo this object if you have a magic solo button this works perfect we're just gonna get it on its own so we can focus on this solely and it's important to note that whenever you're doing you be unwrapping there's definitely a stream streamlined process of how to go about it a lot of people use checkerboard patterns or they use a series of colors and numbers on a grid to allow you to see visually if you're you v's are being laid out and are laid out proportionate it's a visual representation essentially of how your UVs are getting interpreted on a 2d plane so in your viewport if you see squares on your object that are not quite square but more rectangular squash terse or stretched then you know that you have problems in your uv-map so I always like to use a checkerboard if I can because it definitely helps make sure that everything that you paint in Photoshop or procreate will translate on to your 3d model exactly how you intended it all right so we're gonna create a new material double-click it call it checkerboard and we're only worried about luminance for our project so I'll turn off everything else and then the luminance channel I'll create a surface checkerboard within the texture node I'll check in here and up here is a tile of how your shader your procedural shader will essentially repeat and we want the U and the V to have a lot more squares so we're gonna just increase this to 15 for our sake and then we're gonna drag and drop it on to our model and by default cinema 4d will look at an object and it will create a projection type based on that so in your attributes editor of your texture tag here it has a projection type that it defaults to and it looked at this object and it said that's this looks closest to a spherical object which I don't really agree with I think it probably should have defaulted to cubic but it default it's the spherical and that's not really what we want because we definitely want to create more of an even grid of squares and a lot of these are getting skewed they're definitely larger in some areas and there's a curvature to it that we don't like the top looks like a dartboard that's definitely not right and the Front's also a little off so there's a lot of things that are wrong with this now it's easiest to see what you're going for if you had a normal cube in the scene so we'll see what a cube looks like if you applied texture and here all the cubes I'm sorry all the squares when you change to every angle appear to be the same size and they're lining up on the edges for instance so we know for sure that these look good and this is correct but a cubist is fairly you know easy to map something on its when you start to get with these sort of irregular shapes especially something organic that things start to become very difficult but these checker boards are very helpful and I think it's important when we go to you know open up our UV editor and start to modify these I want to quickly show you what we're trying to achieve when we go to do a UV unwrap and if you were to think of this in real life terms it's kind of how I like to look at anything that I do in 3d is how would this be done in real life and try to wrap my head around why we do something it's easier for me to retain the concepts of how you apply these techniques in 3d so like let's say I'm gonna make a paper cube in real life the way that I would do that is I would take a sheet of paper and probably print out a template folded into a 3d volumetric cube so if you were to look at the finished project product I'm sorry it would look just like this but if you were to look at what you printed on the paper it's most likely something very similar to this and that's really what you're trying to do with any piece of geometry when you do a UV unwrap you're taking a three-dimensional volumetric object and you're trying to interpret it as a flat 2d let's say die-cut or template of that object that's at least how I've always looked at it so like let's take our drone for instance I'm going to undo that there and show you it's alright that's our final but let me show you what our drone would look like that way so here's kind of a 3d volumetric object and I would imagine that if I was to you know print something like this and fold it into the shape that most likely these pieces on the side would unfold and so would the front and the top which most likely would be connected so I would imagine it to do something very similar to this now all the pieces in the undercarriage here which were let me show you the like parts of the motor we're not worried about in our model at least we no we're gonna apply just a very flat one color or two color treatment to it we're not gonna hand-paint any of the stuff underneath because it's getting hidden by motor parts and other things so there's a technique where you can almost merge all the vertices together and you can color them all one color very simply so just for sake of this example I'm only worried about the sides the front and the top of this piece of geometry so again if you were looking at it in 3d and then looking at it as a 2d object and let's just say we take those vertices of the bottom part like I mentioned and condense it into one vertex you would probably get something like this and from a print it would be laid out like that maybe and these parts would be attached but they would fold together and then you would maybe tape it up to you know become that sort of volumetric 3d object so that's really what we're we're looking to do and if you can see kind of how I unfolded it initially to what we got at the end I just flopped this top piece here and I did that because I knew that it would be easier for Coban to paint if he was looking at it cuz he would know for sure that if he was looking at it from the front angle that the windows were on the right side but this is gonna be our kind of final UVW map and that's how we're gonna lay it out so I just wanted to show you guys that up front so we knew what we were creating so we're back in cinema and we're gonna take our model and we're gonna put it into the body paint UV editor so in the very top right of your screen you can change your layout here to UV edit it's also in window customization layouts so body paint UV edit okay and on the left side you have the typical interface you're used to working in and that's going to be more interact so you can still move around your model you can select poly faces edges points etc and if you are gonna paint directly onto your object you'll have a paintbrush that will be able to interactively paint on your model we're not going to do that we're going to create a map the old-fashioned way and then we're going to use either Photoshop or procreate and we're going to make a texture map for our drone okay so on the right side is your UV edit layout and the left side again is more of an interactive and interpretation of the same thing so if we look back at what we want to create this is how we're going to try to lay out all of our you v's alright so when we made our object initially and when you select this object in the objects panel I'm going to change it to hidden mine real fast so I can show you but we made our object out of a cube to start and then did some extruding and probably use bool shapes I know we used it for the front and then when we hit the letter C to make it editable we were never given a tag that looks like this a uvw tag and with this little checkerboard texture and that's a very important tag to make sure that you have you have to have your object editable and you have to have this tag by default if you had a primitive object you created a cube a sphere etc and you hit the letter C I think default wise cinema makes this for you but in our case it wasn't there and for a long time code and I were really confused as to why we couldn't do much in the body paint UV edit layout and that was because we never had this tag so make sure that you have that it's very important also take note that in our case again if we turn this two edges we have some pretty nasty geometry here that I luckily am NOT making a modeling tutorial because I know clearly that this is not a great weights to model you want to maintain quads and most of our models fairly fairly nice and clean but this front part isn't you have a lot of you know edges that aren't connected and non quad shapes and if you were texturing this with anything other than luminous shading if you had actual reflection or specular on here if you move this model around in relation to light you get a lot of edge breaks and sort of weird shading shading things happening and so we're lucky again to not really worry about that we didn't have to take a ton of time and model this you know really too detailed so that's that's one advantage again of the luna sheeting all right so the next thing is and I'm going to turn this back to our checker board here I'm gonna keep the lines on because I like to look at it that way on the right side you can see that our UVs are laid out in a very strange way it's because it's using a spherical projection on it now what I want to make sure that we do is let's real fast show you if you don't have anything showing up in this in the screen here one of two things could be happening either you don't have one of these tags at all or this UV show at UV mesh is turned off and if that's the case there's two ways to make sure you get that back on that's either take this texture uvw tag and drag a drop directly on here and you'll see them or just make sure that this is toggled on show uvw mesh alright so now one thing to that we want to take note of is that when you're under the UVW mapping projection tab we don't have any ability to change this projection type and that's because you need to be selected on your Polly's or your Polly edges or points so I'm gonna hit select control a to select all these and then you can see these turned on which is awesome one other thing to note is that anytime you want to move and manipulate over anything over on this right side which the UV layout you have to be selected on UV Poly's here or UV points I think texture is well I don't know how to use this this tool here but I always am using this poly face or UV face and UV point mode in order to manipulate and move things on this side of the screen okay so I want to choose something that is a projection type that kind of mimics the shape of this object already and obviously to me it's not a spherical shape it's more of a rectangle so I think a box or cubic would be a good way to start I think I'm going to try a box I've found it to be a very successful one in most cases so I'm in a hitbox and that's pretty good you see what it made over here on the right side I mean some of these shapes are already mimicking what we want I'm gonna bring over the template of what we're going for and you can tell like you know this is fairly fairly close to the shape this left side and right side look fairly good there's some interesting overlaps happening and stuff but for the most part this is doable and this could be cleaned up fairly fairly easily so I like it I think everything looks fairly good now one thing that you notice probably that didn't happen you have the UV x' laid out here but it didn't modify anything over here this still looks and appears to be that same projection that spherical projection that we were using and that's because cinema is looking at this shader projection instead of the uvw tag and you can see that because once I hit that it changed the UVs over here it's now laid out as a spherical projection so we want to tell cinema use the UV w's that we create to project it onto this object so we're going to change the projection type to UVW map awesome so now not only is it laid out over here but then it also modified what we see interactively on this and that's great that's exactly what we want because we want to be able to move and manipulate things here and see it update interactively for us on this side of the screen awesome so now what I'm going to try to is think of this in terms of islands what kind of areas of the ship can I take move and manipulate them and I think of this right side as sort of if you were in Illustrator and you had an artboard everything within this dark gray is actually going to be the map that you create and export to paint on so everything outside of it can kind of be just you know you're you are bored in order to assemble the parts and pieces but I think of it as creating these islands of poly faces and kind of getting them off on their own and then compiling them into the the kind of layout that we want them to be in so I'm gonna stop real fast and create selections for each of these parts but really the whole idea is that I'm gonna get the left side of the ship on its own the front side on its own the top on its own and also the right and back lip here everything else underneath the carriage I'm going to probably paint with just one or two shaders so I'm not really worried about having those laid out in a way that I could paint they're gonna be covered by motor parts and all those things like I mentioned so I'm not too worried about it all right so I'll leave you I'll come right back I mean I'm back in my normal layout because I just wanted to show you quickly and that is I have all these triangles up here which are now created and if I double click them in the attribute editor it brings up what I named them like I want all the front of the geometry I want the back piece the top piece and the left and the right side of the ship if you don't know how to create these it's really cool you just select the faces that you want to have as a selection and you come up under select here and you say set selection and then you can name them whatever you want and then it makes a tag over here which is a triangle that allows you to easily access those again so that's a very very very handy tool we're going to come back into body paint and now we're going to start to use those selection and we're going to move manipulate them over here and it's kind of a puzzle piece in game like I mentioned so we'll start with the first one which is the front and we don't like right now what it's doing you can tell that some of the faces are selected over on this side and then also the front is really squashed and interactively if you're looking at that you can tell because our squares aren't looking cool they're they're stretched as well so again if we're applying that principle where we want those to look like squares we're going to have to modify our UVs on this side now the cool thing is you can create a different projection type for anything that you select so it doesn't all have to be from that very you know first projection that you make and in our case I think it would be really helpful if we change this camera to a front camera and we used a projection type called frontal what that does is it looks at the camera that you're in the viewport that you're in and in our case we're in a front facing camera and it's going to translate that projection of that object as literal as it sees it so if you push frontal you'll see you get exactly what we want on this viewport in this viewport and the interactive part our squares are very proportional which is great and then it also looks very nice over here so this is a good good thing to show you right now if I was to be in this side of the editor and I wanted to move these I can't do it it's locked and that's because we're in this poly selection mode and like I mentioned earlier you have to be in one of these UV poly poly or point mode in order to manipulate and move anything on this side so I'm going to change this to poly ruv Poly's here and then I'm going to use my move tool which you could either use the hotkey or you can you know just push the tool over here and I'm gonna move them out of the way and right now you can see it's moving stuff in this viewport but I'm not really concerned about it I just sort of want to get them out of the way if you want and I'm gonna go back in perspective you could just sort of generally try to create them to be about the same size as everything else I kind of like more dense squares like this so I may just keep it its size and just sort of get it out of the way and then match all those other pieces to said this size and then once we need to scale it down as a whole weekend okay so now I'm gonna go to the next piece which is the back and I think this would work just the same I think it will work really well to go to a back facing camera and say frontal and that looks awesome so we'll use our move tool change again to the UV poly mode move it out of the way all right and then I'm going to select let's say the top go to a top facing camera and that actually looks good there's nothing I don't think we even need to remap it I think the only thing that we may want to do is move it out of the way and then go back into perspective and see if we can get the squares to be about the same size as the front and we do that by scaling up the UVs on this side because you can tell that the front piece is a lot larger like if we were putting the top part where it probably should go which is right here it should be about the same width as this front piece and we know that because if you were to select a UV over and that whoops let's select a point for instance like this point here these two points should be right by each other or very very close to each other and right now this is all the way on this left side and this is all the way on the right side so this piece this island should be scaled up to match the width of this front piece and you'll see what happens when I do that so I'm going to select the poly or the UV Poly's again and I'm gonna use the scale tool you can scale something proportional or non-uniform I'm going to choose to do it uniform because then nothing will get skewed we know that our squares are are great looking we don't want to make those you know rectangles by scaling this non uniformly so I'm gonna hit scale and you can scale from any point if you'd like it looks like it's scaling from the right but you could scale from the middle if you wanted as well or any of those points maybe it's good to kind of align the middle one right now since we know these points are sort of connected and you can zoom in as much as you want again one two three and all your other hotkeys work on this side as well so get those fairly close you don't have to be like crazy precise about it but you can see already that we're getting closer and those are very very close to looking like they're aligned so that's awesome I'm going to use the scale tool again and I'm gonna try to scale from this manner mid middle point sorry can't talk I think that looks pretty pretty darn good pretty close you can get very precise and technical about it but feel like that's gonna get us a good result and we know we're not too worried about these seams on some organic models you would want to you would really want these to be connected so then if you were to paint a line and you were to go over this part of the object that would you know paint perfectly and you wouldn't be able to see you know miss mishaps and gaps and that sort of thing but again we are lucky and we don't really care so much about it looking like that we sort of liked the abrupt look of the edges okay so let's get the left and the right looking the way we want it so here's the left side and we're gonna move this out of the way as well up I have to be in our honor tool that we talked about and we're going to scale it up to be sort of closer scaled down it looks fairly good for now we'll just kind of set that on this side I believe it's gonna be on this side in order to check this and you can use rotation tools there's also a transform panel you could say let's go negative 90 wrong way this is a good instead of using the rotate now I can show you that you can use these mirroring tools too so let's mirror it on the x-axis okay and then I believe I'm going to need to do it again on the V okay and just to double-check this is this is always what I do I'll get it sort of in the area that it needs to be scale it down a little looks like it's a little large and I'll just select a vertices over here and as long as these are in the general area like those are definitely the same it's only selecting one vertex over here but are you VW's it's selecting two and that's because those are technically one and should be like connected if you were going to make this a seamless UV unwrap but in our case like I said we just want to make sure that they're they're the right ones and they're aligned you know right by each other so looks like they are you can tell all along the seam these ones that are matching so that's awesome I'm going to use this selection and I'm going to move this a little closer and I think I'm gonna just try to match the ones that are closest which is this paint this UV here okay so that's pretty good yeah and I mean you can tell it's sort of starting to slip this way and it's probably because we'll need to scale it just a little bit down that looks good now okay awesome okay I'm gonna come right back to you guys and I'm gonna do the other side since you probably already know how to lay that out and then I'm gonna show you how to select all that undercarriage stuff and make it one point most of these are laid out fairly well so I went ahead and I did the right side and I did the back I'm using the same principles of kind of what we did for the other sides and I have now some of the points that I just want to condense into one and in the viewport here you can see all the stuff underneath is stuff that I just really want to paint with one or two shaders but I don't necessarily want to put detailed texture on and so we're gonna condense those into one point and the body paint UV editor has this really cool thing under UV commands if you have all these points selected and I believe you have to be again under in order to do these kind of commands and things you have to be under this here oh sorry Paulie I guess poly mode I guess it doesn't let you have it under point mode but some of those work great out and that's because I wasn't under UV poly mode alright and I'm gonna say reset UV and it collapses like you notice and it plopped it down into this far most left point I wouldn't worry about the interactive shading right now and it not being a checkerboard it's clearly on a white well I mean that makes sense because it sits on white part of the checker if you were to move it you may hit you may hit black yeah somewhere and that may be a black part of the texture you have to imagine that under this dark gray area is a is a checkerboard texture and that's essentially kind of what it's doing so I'm gonna say Reese's reset yeah reset again and then it's gonna pop to that far left corner so we know that in Photoshop or procreate whatever we make our base layer for the background is gonna be the color that all this takes on and that maybe that's just all you want to do or we're going to show you how to sort of take not only a painted texture for the majority of the model but then we're going to do some what we called slab texturing where we sort of add other shaders as well to the model we'll get to that but yeah so now I think everything looks pretty great I'm gonna bring up again our image that we want to match and this is really all we have left to do all I want to do is rotate this so that it's laid out correctly on this gray square so you can marquee select if you'd like take the marquee select make sure again you're on you've UV Poly's and select this island of Polly's and then either use you know these commands appear which I guess would flip it so we don't want to do any of that I don't know what some of these do again I don't need to know all these things as long as I'm kind of getting what I need out of it I'm gonna use the transform tool and do ninety degrees so counter clockwise ding let's control Z that wrong way sorry guys 90 degrees there we are alright and I'm gonna hit the move tool I'm gonna move it in the general area here and then I'm gonna scale down proportionally to get it as close to the square as I'd like scale down again you're trying to basically use the entire square so that you don't have to make gigantic texture Maps you want to consider how close this model is ever going to be the camera like if you were zoomed in super super close you're gonna want your texture map to be a very high resolution so that it doesn't look pixelated just you have to keep keep that in mind and that's why you scale these you these to be as large as possible on there there's also commands to fit it in the canvas but it may skew and stretch our squares and so I'm not going to do it that way I'd like to have you know the most control over stuff and now that I know all these squares look great and everything is pretty much you know aligned as much as possible these ones look a little bit off I guess that back area that looks slightly shifted so I may fix that but all the rest look pretty darn good so I'm happy with that let me move this back one real fast cuz that that is a little bit off so let's find the selection for that believe it's this one and interactively look at it real quick and see if I move it if I get anything better let's make sure we're on this mode and you can see like there we go oh that's weird because really these points should be right by each other I don't know why it's off let me try to move it I guess a little bit more down here maybe scalings off yeah it could be scaling because you can sell at this point and this point should probably be by each other let me double check that by selecting this vertex aha alright good good example of what not to do or what kind of mistakes may may happen that you guys are gonna have to troubleshoot I accidentally had taken this Island and flipped it vertically so it's the wrong way and you can tell that by this point and this point should be by each other and they're not so I'm gonna select those faces again and then I'm gonna use the command I have to be under this mode again I'm going to use the command to flip it vertically and now you probably don't even see anything happen over here it's a symmetrical you know object but it did look interactively like it flipped some stuff here so now when I hit those points see alright select any of these that should be right by each other they are by each other and that's what we want we want to make sure that that's happening over here all the way down alright so again gonna select this and I'm gonna take a look I feel like now that looks pretty aligned and I'm cool with that I think whatever Cobin ends up painting it's gonna be fairly fairly nice and accurate so I'm not too concerned about anything else I think like this is a great texture map so now is the really fun part we get to export it and give it to koban to do the paint so real fast so I'll run you through that process you want to come up here to file and you want to say new texture and I'm gonna name it sea drone UV paint whatever you want to name it you have the option of making this larger if you want we found that 2k is a fairly good texture map the bits per channel I like to have 16 at least and then again any of these other things you can modify and change but yeah I like to say 2048 by 2048 now the next thing to do is select all your oops sorry in this viewport or over here either way you like to do it control a so all of your you've either selected be in the UV mode and then under paint brush over here it brings up an attribute panel that allows you to change the color and the size of a brush so I want to change the hardness to be a hundred so it's a very sharp brush and I think 10 is a good number but maybe we'll go slightly lower so that the lines aren't as thick so maybe we'll go to like 8 okay and I think right now your color and this is sort of hard to know but it's just like Photoshop or illustrator the top swatch is the color that you're on so we're gonna be painting something white in your layers panel over here you have a background already you want to create a new layer and let's go back sorry that we are doing this a second time but we're gonna go back to those UV Poly's and we're gonna say select no layer outline polygons and it's gonna take whatever color that we told the paintbrush tool so in our case it's white and whatever radius that we wanted the brush and it's gonna outline these Poly's that we have selected white and in 8-point all right so we're gonna say file save texture as we'll save it as a tiff or PNG whatever you want TIFF is cool for us I'm gonna say yeah you can save it wherever you want I'll save it to the desktop and then now it's the fun part we'll pass it over to koban to see what he comes up with all right now we're gonna paint this bad man with JAMA so here's the nice map that Kristin laid out for me and I'm gonna come in here I'm in Photoshop obviously here I've got the color palette that Dylan created I added a couple extra colors kind of you know based on the way Dylan did it and we're gonna paint our drone this green color down here we're gonna sample that and for some reason today photoshop's being weird and I'm gonna have to keep flip-flopping back and forth between foreground and background color but make sure the color we selected as your foreground color and simple dimple we're gonna create a new layer we're going to come in and grab our marquee selection and we're just gonna admit we're gonna fill the whole space with our base color so our base color is the lightest of our three tones that we have so I'm just gonna go ahead and fill with the foreground color boom there we go we're going to name this base color so we know we've got our main color sitting on that layer so we're going to create a new layer we're going to go in and we're going to do texture so I'm going to deselect and let's name this layer texture so Dylan made these great brushes for me he works and procreate on his iPad pro and Photoshop was not being cool about letting us make brushes that matched what he had made so he made me these great stamps where we just took brush swatches that he had made and turned them into Photoshop brushes that I just use as stamps so this is what it looks like we got a couple different shapes now for some reason when I created these brushes they defaulted to this color so every time we pick a new one we're gonna have to change back to the appropriate color right now I am going to just select where I'm gonna paint and I'm gonna work on the same layer but I'm gonna just set up a mask here to restrict my brush from over flowing over into the next UV area so I'm gonna grab the color I need which is going to be our mid-tone and again remember this shouldn't happen for you but I have to switch back to foreground now we are gonna go and we're gonna grab one of these great brushes that Dylan made for us and up here in the brush you can rotate your brush and so I'm gonna rotate it a little just to get a little angle because I want my texture to lay on you know what it depends on what you're painting but I try to imagine like how does the air flow over this hole and where is it going to take you know as it flies through a sandstorm is where is it gonna take a beating where's the air pushing it against you know the side of our drone here and that looks good to me yeah that's looking good okay so we're gonna deselect and we're gonna come down here we're gonna do the other side same idea just try to get in there tight so that you don't get any bleed over onto what is the top of the drone use your little selector guy here okay we're gonna go back and we're gonna grab I'm gonna use a different brush just to show you you know kind of all these brushes were derived from the same texture but yeah I have I have this cool one that'll work really well Dylan made this crazy shape there it is look at that it's just a giant triangle and I'm literally I'm not brushing I'm literally clicking because all this is is just a great big stamp Oh see I got to go get my color all right here's our brush let's go back to our okay watch this boom done next round but I can use the tip of the of the stamp to do whatever here I'm gonna pull up this one's my favorite I called it dil blot because Dylan's such a dil blot yeah it's just a different shape so I can kind of achieve different stuff got to get the right color every time I pull these up they've retained that hideous color let's see I can you know make a stamp here and I can go up and I can rotate it and I'll get a different you know the edges are all different on this stamp so boom just put in a little more happy little textures there just get your textures in there and make it it's your own little world so next yeah okay we're gonna do the top here get out that selection tool go ahead and try to cut in there nice and tight it's important to remember whenever you paint in a UV map the only thing you're going to see on your model is what is inside the constraints of your UV map so you can see on the sides how I've got all that junk laying over but it doesn't matter because it's only gonna pick up what's inside the UVs you can have as much junk outside and nobody will ever see it because only what's inside those polygons is what's going to be projected onto the model so we got that selected and we'll grab another brush and do the dance you gotta go reselect our color and notice for this texture pass again I'm working on the same layer you could create a new layer for every one you don't have to all this is gonna kind of meld together in the end anyway so you might as well just save yourself some time and just keep working on the same layer with different selections each time so here we go just kind of lay it in there maybe that air flows just over the front and all that shrapnel and debris that it flies through and only hits it in certain places it doesn't we're not going to cover the whole thing you yeah there we go okay nice and heavy on the front maybe we need a little bit on the back just kind of let make that jive okay we're gonna work on the little just this is a little rim of the tail end of the hole obviously we're gonna grab our selection tool lasso that up and then you got it go back and get get the brush boom easy okay go back I gotta get that front cooking so grab that lasso tool it's just the lasso tool there's a polygonal selection tool I forget what it's called I just know where it lives there we go so maybe heavy on the front kind of the top where it gets smacked with all kinds of junk as it's flying through space and time I go that looks good yeah I think that's gonna play out real nice alright now I'm gonna go I need to find just a simple hard edged brush so I'm going to open up my brushes over here cuz I don't have this in my axiom brush set so I just need a hard round brush we're gonna do the panel lines next so grab a brush it's in here somewhere come on Photoshop here we go all right we're gonna change that size let's go six I think six is gonna look good all right so now we're gonna make a few more layers make sure we just deselect everything let me make some new layers okay we're going to call this one panel lines all right we got to go back and now our third and final color is the darkest of our three tones and that's going to create our panel lines make sure that's in the foreground don't know why Photoshop is doing this today all right let's start here in the front we're gonna come in the diagonal line there pick that back up and come straight across cool simple looks like Dylan drew it all right working on the side will have a line that comes up there maybe that line will wrap across the top but maybe a little more detail might be nice yeah okay I'm really just winging this guys I mean I already painted ten of these so I'm just kind of winging it I don't know that this one will ever show up anywhere in the show but it looks nice one coming out here kind of wrap to the edge there back edge boom alright so we need we're gonna need this on the other side and we're gonna cheat and we're gonna copy it grab that marquee and we're gonna copy and we're gonna paste that onto a new layer we have a paste in place and we rename that layer pad on line two left side I'm gonna work I think I'll remember that and what we're gonna do is we are going to gonna go to transform and we're gonna flip vertical yes that's the right one okay now that's flipped vertically I'm gonna grab that I'm gonna hold down shift I'm gonna move straight up hopefully Kristin got her you Viets right in the right spot it's fine if she didn't because the next thing is we're gonna show you how to go back and just bump these things so that they all line up perfectly so that's looking good we need some panel lines on the top layer panel lines top opie there we go so I think maybe I'll start maybe with a line across the back that is meant to line up with these diagonals coming off our side I'll just drop a line in there this is so easy I'm not even using my my tablet I'm just Mouse drawing all this sometimes when I'm feeling real fancy I like to get my stylus out and that's for more detailed stuff though okay yep straight down the back that'll be cool right in the center there and why don't we we will try to catch that diagonal line that comes up on the face the front face of the drone we're gonna save and then I'm gonna ship it off to Kristen or myself we haven't decided that yet all right so now we are gonna put we're gonna wrap that texture that we just painted back onto our model at first we have to replace the checkerboard that Kristen used as her guide we're gonna replace that with the Photoshop file the tip that we just painted that doesn't look so good so we gotta fix that Kristen yeah how we gonna fix that yeah so when you put the texture on the model it ends up coming up in at a very low resolution you're probably seeing it a lot lower than we painted so under the editor in your material editor here you have a texture texture preview size and if you change this to 24 by 2048 by 2048 which we painted it should look a lot sharper in the viewport than it does that's good yep so we can see already that our panel lines aren't lining up perfect so it's easy to fix and all we have to do is bounce back and forth between photoshop in here and we're gonna go into Photoshop and we can nudge them around now you can see that the front panel is not lining up just right same with the side yeah just the two sides I think everything else looks great though don't you : let's see the front and those were never really meant to line up there no no no no but the top front we could kick that over a little okay so we essentially we have to go back to photoshop and we're gonna I think what we need to do let's start with the left side I think we just need to tap that back so we're literally just gonna you know pull up the move tool in Photoshop and we're just gonna use our arrow keys to nudge that backwards which is towards the back of our ship so we go back to cinema' and we saved that real quick and we're just gonna update that file so if you click the cheater and just say reload image it should reload that and if you notice we kept the the map turned on so you got make sure you turn that yep there we go whatever layers you have showing in Photoshop will show up on your model so you have to make sure if you got something I don't want to show like those white lines you got to turn the layer off you happy with that or do you think we need to nudge it back a little I think it yeah maybe one or two not just forward now right may have went one too many I'm gonna try one first again yeah it's good okay so then we'll just do the same thing on the front looks like it needs to go to the right a little mm-hmm I would say two nudges yep so find the layer that song oops front that's good so remember it guys when you're in Photoshop and you're nudging these layers around it's for that to reload and cinema you've got to save your Photoshop file so it updates to cinema it really is just a game of nudging them saving going back and forth to see how your textures laying out on your model here we go yeah it's pretty close it'll do for now yeah it's a little weird corner but I feel like that it's not gonna read ass you're way up close on it absolutely we're not worried you can always go back and fiddle and perfect to your heart's content but that's the basic gist of it you just have to bounce back and forth between you know whatever you're painting in and cinema and just push things around until they've line up the way you want them to okay so now we've wrapped our painted texture on the on the hole and now we're gonna do what we call Kristen and I coined slap texturing we're literally gonna take material and just slap it on set selections we've made this is just a way to finish off the bottom the parts that we didn't paint we want them to be like the darker color you see that kind of looks funky so there's a set selection we're gonna grab this material and we're literally gonna pull it and just slap it on to the object okay and so a lot of this gets covered up with engine parts and storage boxes and just the junk that hangs off the bottom of the ship but it's nice to have that darker color in there it kind of creates a shadow in there you see a little bit of it through certain things but then this we have a second selection which is just this kind of rim and we're gonna use our medium tone remember we have three green tones and we literally just slap it on there and that's done and we brought this color palette in from kind of a palette of colors that we developed for both the drones and the city right so it's easy from file to file when we've created all these to just apply you know the same sort of set of colors yeah it's bedtime this is a neat thing that Kristen taught me and I the the reason those you see those cubes floating in there they're just holding the textures we can copy and paste them from file to file and they'll automatically bring in all the textures down in our texture our materials window so that's just kind of a cheat we do which is nice and it's easy you can do it you just apply the material to the cubes and then leave them floating there and you can copy and paste them in and out of files and they'll bring the colors with them alright so then the last thing I think we have to do then Cobin is just texture those windows right or the little boy oh yeah right sorry we have one more set selection so we're gonna use some of these great colors like we used yep give it back this is the second the medium color for those let's try it and then I believe the back was the darker unless I got those flopped that appear to be right yeah yes yeah I think that was right and then we put the lights in there so yeah I think that we've got it guys and just to show you sort of let me unsolo this and show you the rest of the ship or the drone basically everything that we learned in this tutorial we applied to all these other parts right yeah yeah all of every piece of the ship was unwrapped and textured in the same method that we just showed you guys doing the whole so you know when you break this ship down to each of its parts it gets pretty crazy but it's a very streamlined and quick process to get some color on the thing that's it awesome okay guys so that's basically how we did it and hopefully we showed you something cool maybe something you didn't already know hopefully there's some techniques in there you can use on a project that you're working on so yeah we are Edison creative and the cartoon is called the axiom Chronicles hopefully this nice little tutorial we've created will make it to the internet before our Kickstarter campaign ends where we are hoping to crowdfund the completion of episode one of the axiom chronicles so you can find us on YouTube hopefully we'll still be on Kickstarter and all the other social media places and goodies that the kids like to hang out at these days you can find them all here at the bottom we'd also like to really thank each a for letting us crew up with him and do one of these we both agree that his tutorials have been very valuable for us I think I've learned everything I know about cinema from Kristin and EJ before I even ever actually met him so thanks man and thanks for having us and hopefully some people can get some good stuff out of what we're doing take care

Channel: eyedesyn

Views: 94,080

Rating: 4.9297342 out of 5

Keywords: uv mapping, uv map, uv unwrap, uv unwrapping, bodypaint, cinema 4d body paint, cinema 4d bodypaint, body paint, cinema 4d uv, uv mapping in cinema 4d, texture painting, photoshop, cinema 4d, cinema 4d tut, cinema 4d tutorial, c4d tutorial, c4d tut, eyedesyn, learn c4d, cinema 4d bodypaint tutorial, cinema 4d uv unwrap, 2d shading, cel shading, cel shading in cinema 4d

Id: O72fjPg4YX8

Length: 62min 24sec (3744 seconds)

Published: Wed Feb 28 2018