Sketch & Toon Shading In Cinema 4D R19

hi and welcome to part 2 of my cinema 4d sketch in tune tutorial in this section we're going to go through cinemas various different shading methods in part 1 we already went through how to do the basic shading and get the lines around the outside of your objects so go watch that video first maybe if that's what you're interested in but in this part yeah we're going to concentrate much more on shading so what we do for this is we use regular materials although we do have these special sketch shaders for the lines this is not how you do your shading all of the shading is done through just a boring old regular standard material so I'm gonna add one of these put this back down there and let's open up this material okay so what we're looking at is in this texture drop down menu we have a sketch and toon section with four different things in so we're going to go through all four of these but the first question is where do we put it what material channel ultimately this is gonna change how the colors of the object change but it's also going to change how it illuminates it as well so generally special effects things which affect more than just sort of the coloring or the bumpiness of a surface we tend to put those into the luminance channel so I'm just gonna turn everything else off I'm gonna go to luminance turn it on and we'll start off with our very first one in here under sketch in tune and this is the art shader very pretentious name now the art shader it's a bit of an odd one what this is gonna do is we're going to feed cinema a picture of a ball and cinema will then scan the image and because it knows it's going to be a picture of a ball it therefore has every possible angle it needs it knows what the top of an object should look like you knows what the bottom of an object should look like all bases should be covered so we're going to be a bit lazy a bit cheeky here we're just going to fire up a web browser and we're going to just go and grab something of Google images so let's say we want our sketch in toon style to be either a watercolor or maybe a pencil sketch something like that basically just either find depending our morally bankrupt or or draw yourself a ball in the style you're after so let's say I search for a pencil sketched sphere have a look at images and I decide right I want my my 3d rendering to be shaded with this kind of style here okay that'll do me fine so I'm just gonna grab this image here just for demonstration purposes obviously you're supposed to definitely go and draw your own artwork not just Nick it from Google so let's save this picture let's dump this on the desktop and go now we need to go over to photoshop you see the image cinema is expecting should be perfectly cropped so I'm gonna load this image into here and what I'm gonna do is I'm gonna grab my crop tool and we just need to trim off any spare space above and below left and right don't worry about the corners they're pretty irrelevant we've just got to trim off all this white space it doesn't matter if you trimmed slightly into the object that's okay but it's better we do this then we leave any white space around the outside edges so let's just crop that this here should do absolutely fine and we'll save this out we'll call this crop sphere well keep as much quality as we can we'll go for a PNG file okay there we go alright so back in cinema so we are sat here let's actually get an object to apply this stuff onto let's let's go for maybe a stickman let's just give him some slightly better quality or maybe sitting in a in a rubber ring floating around in the ocean there is right so this is going to be our test subject we'll apply our art material to both objects and we're looking now at the luminance channel we have our art effect in there what we need to do is we need to load in the texture but be careful here don't just click the buttons off to the side and go and load the texture what you're going to do first is click on the word art so we're looking at the art shaders settings and now in here this is where we load our texture so the very first slots we've got is asking us for an image you can just click the button to the side and go and load it's or if you've got the image laying around somewhere like I've got mine on my desktop just to the side here you can drag and drop that into the texture slot and it will load it in that way as well it won't do I want to copy its no not really leave it where it is right there we go so this will now be taking this sphere and depending on the shape its applied to it will rearrange it so that's the the texture covers and shades the entire surface this is one of my favorite shaders by far because it's so easy to use it's so quick to get pretty good result and it just pretty decently shades the whole surface just the note on resolution you may notice we've got a few stretchy bits here maybe a few stretchy bits there I would say generally the minimum resolution for this artwork of your sphere should be about a thousand pixels if you go much smaller than that you can see the one I've got here is only 500 you start to lose a bit of quality on and on any of the flat surfaces they tend to sort of stretch out that texture a little bit too far but if your artworks at least a good sort of thousands preferably two three four thousand pixels is better you you'll generally avoid these issues but that's it that that's really about all there is to it you just load in a sphere and cinema will now apply that style to anything I will say this does work a lot better with curvy objects than just flat ones I have chosen these two example objects for a reason because cinema is looking at your geometry to determine what angle the surface is facing it then picks out the appropriate piece of your image and applies it the problem with a flat sided shape is it's only if we're going to pick out a really small tiny little speck of this piece of artwork so the resolution I just have these massive gigantic chunky pixels it's it's not gonna look right so this art system is good for curvy things not very good for flat if it's flat just go find another way of doing it even if that is just simply shading in a flat piece of paper and simply applying that as a flat piece of artwork that would work perfectly fine too okay in terms of settings not much to worry about you can rotate it around so keep in mind by the way what we can't do really is illuminate this whatever illumination we have in our original bit of artwork so this thing's lit from the top right corner that's the lighting you're going to get in your scene I can add as many lights as I like these lights just simply do not affect the scene because this has no color to illuminate it's already sort of pre lit through the luminance but what you can do is you can rotate it so if this is lit from above we can actually just rotate our artwork spin it around and we can now sort of make it look as if it's lit from underneath by just turning it around until the lighting of the artwork is down below so that's that's at least one bit of control you do have other than that's the rest of the rest of the settings in here really not particularly useful but yeah there's your art system so let's move on to the next one so I'm probably gonna keep my little guy in his rubber ring here the next thing I want to show you so I'm just gonna dump this art shader now let's go into here and choose clear okay the next thing in our list is the cel shader now the cel shader will be honest let's look at its settings this if you've already looked at cinemas main sort of sketch settings this is not going to be a million miles difference if you've already taken an object and added a standard sketch material again sorry is just gonna be off the edge of the screen here but I'm gonna add a sketch material you may have already been into the render settings had a look at the sketch settings gone to shading you've got these sort of shading settings here with quantize options and gradient options for shading the surface this is not a million miles difference from the sail shader the SEL shader is really just going to give you a series of gradients to control how the surface how the object actually gets lit the benefit of this one I guess is you can now do it per objects or you can even apply multiple different ones to a single object so you're going to get more control over it rather than just applying one big brand shading to absolutely everything in the scene so let's have a look what we've got it's useful but not usually different the default thing you've got is this gradient cinema is simply going to shade dark medium and light areas with these colors so let's hit ourselves up with a interactive render region pose this is not how it's going to look cinemas real time view unfortunately isn't particularly good with this but if I turn on the interactive render region and we'll just draw pop them over there draw a nice big box okay and let's boost the quality up to the top as well okay so you'll notice what we have is this gradient where everything is facing us we've got this sort of highlighted area in the middle and then it just sort of fades the darker darker colors when a outside edge this is cinema's camera mode it literally makes a gradient facing head-on towards the camera if you're after something a bit nicer a bit fancy a bit more controllable Darris I turn off the camera mode and instead go for lights instead because now whatever lighting you have in your scene let's grab this light source this will actually be illuminating our scene it's still using the gradient it's still using those same colors but I can now move this light source around and get it to actually illuminate and light up the project so let's go back to the gradient for a second so now we've got it more controllable let's go back to the gradient there's nothing necessarily wrong with this kind of gradient itself it's just stylistically it's a bit harsh these things will suddenly jump from brights to medium to dark with not not not really anything in between but keep in mind this is controlled with a regular gradient so if I go to this diffuse and I unfold it to get more settings what we have in here first setting is one where after interpolation how does it blend from one shade to the next and at the minute you can see we've got none so it's just making this sudden quick snappy jump from one shade to the next if I choose something from within this list and again there's not much difference between anything in this menu they're all all kind of similar so just go for the first one smooth not this will change its from having a sudden change in the gradient to this nice much smoother one so you can see I've got a much smooth and nice soft transition here everything's gonna much shinier now it's not necessarily that I want everything to look sort of all smooth and gradient in and blended it's just that I didn't want this harsh sudden cel-shaded jump from one color to another but what we can do is we can make use we can essentially get sort of a halfway house you can see here the here with my gradients if I just double up these knots if I take this medium blue one and just put it up quite close to the bright one I've essentially told cinema could you could you just change the shading a bit quicker a bit bit more sudden so basically do it within this little area here you can see I've now got a nicer softer edge to my highlighted area the dark bit is going from this sort of nice medium blue to a very dark blue actually that's not too bad but if you did want a quicker more sudden change do the same thing again take your dark blue not and put it very close to the medium not and you'll now get a much more sudden change but the it is now smoothly blending from one to the other and of course thrown whatever colors however many different shade you like and you can now get this nice softer cel-shaded look on your objects as for any other settings consider that when you're illuminating your scene there may be shadows if I just kill this cell shade you look for a second and just sort of plain white shade this if my light has a hard shadow casting the shadow down onto the ring below like this it would maybe be nice for this to show up with my cell shaded look at the minute though if I turn it back on it doesn't shadows are just completely and utterly ignored but that's just because we haven't turned the setting on if I go into the cell shader right where we turned on our lights we can also turn on shadows and there we go he will now cast a shadow down onto the cell shaded look likewise then we just mention this illumination button because it is a bit confusing the name isn't best although I understand what it does but needs a bit of explaining lights tells the system to use the actual light sources shining up above they go you can see one reflecting my glasses just there this tells it to use the lights but what it doesn't do is take into account how bright the light is if I move this out of the way and I just go to my light and I say look let's make this light half is bright nothing changes it doesn't matter how bright or dark I make this light source it always looks the same illumination in micelle shader settings this is essentially saying please take into account how bright the light sources that's all it does so when I turn this on initially nothing much will really change but if I now dim my light down a little bit so it's not quite so bright let's say half way it'll goes much darker now obviously I've gone too fast let me just turn it up a bit bit more there's a fine line between darkness and lightness although dick your mind the reason this happens is because I have most of my gradient covered with darkness if I shuffle all this stuff much further left and I have much more sort of light areas over here then my light makes a bit more sense that this should be sort of fairly evenly distributed across your gradient essentially yeah so turning on the illumination setting allows the brightness of my light to actually make a difference to how bright the cell shading goes on my scene and that should largely do it for this one to be honest it really is just a question of choose the gradient you're after tell cinema whether or not the lights and the shadows and the illumination should actually make a difference by all means use the light color as well so if you need some warm lights and some cold lights you can actually take into a candlelight color too but that's about it really for the cel-shaded shader let's move on to the next one then showing so let's say goodbye to the cell shader goodbye and next up in sketch in tune is the hatch shader so let's throw one of these in now the hatch shader if you've used mograph before explaining the hatch shader is easier the hatch shader is for doing hatched shading in other words if you've got a pencil and you you want it to shade something in you could just get lots of little brush stroke to shade a surface so you could put lots over here where it's nice and bright and then really dark heavy shading over here where the part of my hand gets darker this is what we can do in cinema if I have a look in the Hat shader the first thing much like many of the others is it's asking me for an image so it wants to know what the brushstroke should be should it be a thin long line should be a big thick heavy smudge and this is really up to us so I'm just gonna throw Photoshop up again let's lose the sphere and I'm just going to make a new image I'm just gonna say file new a few hundred pixels this fine I wouldn't go much higher than a thousand though in fact I probably wouldn't go that high because high resolutions take longer to render so yeah let's say a few hundred pixels and all I'm gonna do is just draw a brushstroke so using some sort of brush let's go to our list here which we use or I don't know let's just pick any old random thing let's go for this okay so bit bigger but I'm just gonna draw in black and white that's very important by the way black and white I'm just going to draw boom that's it that's my brush stroke so let's save this out save as on my desktop will call this brush stroke PNG file is fine okay so what we do back in cinema once we've drawn a brush stroke is we load into here I just drag and drop this to be lazy no don't copy it I'm just depressed that don't look 1 million times at this point right ok so let's take a look what we've got our texture view shows us our brush stroke there our preview shows us a few brush strokes and our editor view shows us nothing much useful at all so let's sir let's just turn off that render region so it stays nice and quick right there's really sort of three things we do with this brushstroke the first page here which says shader this is really just to determine how many brushstrokes I'm gonna have how large they should physically be and sort of how densely packed they should get on the surface the next couple of pages allow us to tint the color and change them based on illumination and this is sort of one of the key things for the hatch system but let's let's get the air distribution sorted first now most things in here my hoping should be fairly straightforward just for those who have never gone into all this UV editing stuff just think of you as horizontal changes and V as vertical changes left and right up and down and with that hopefully most of the stuff in here should become quite apparent as to what its gonna do so scale I'll tell you what this sir let's right-click here and open a window get a nice big chunky editing window up here so scale this is just going to be how big the entire pattern is so imagine this is a piece of paper and we're just drawing lots of brushstrokes this will give us an idea about how it's going to look on surface if I shrink the scale down to maybe 10% we get lots of brushstrokes okay so you can get an idea about how it's gonna work now it's just gonna be drawing all these little ticks all these little brushstrokes onto my canvas we've then got density which is really going to be how many brushstrokes we have so at 100% this is sort of generally it's not strictly the maximum but there are better ways for getting more beyond a hundred percent so let's just for simplicity sake assume that honey percent density is the highest we really want to go with this this just lets us choose how many brushstrokes were gonna have so 50% half of them will just vanish if we go down to 10% we'll only have a few on there but I'm just gonna leave this at a hundred percents because we tend to need lots of brushstrokes for this system to work nicely you can choose how many you get specifically left and right on you and up and down on a V maybe you want to do this I've never spurt ikkyu ly seen the need frankly the density setting just by itself tends to be enough for this scattering right we've got a bit of random placement on this because we are randomizing them 10% left and right and 10% up and down if I were to just get rid of these for a second we'd get fairly neat grid of them so you can see what the scattering is doing if I say let's go 1% 2 3 4 you can see the more just shifting left and right whereas this scatter V the vertical one this will now go up and down so 1 2 3 4 so use these two numbers to just basically randomize them as much as you want if you go really high with this keep in mind you will get lots of clusters all sort of overlapping and lots of big blank areas with nothing so maybe don't go too mad with it so keep the numbers fairly conservative if you're trying to get fairly even bit of a shading on your surface spacing how far apart they are again not massively useful because it's not merely much different from just density if you add space you have a less dense pattern so really there's not a huge difference between these settings so it will skip those and then we've got scale now this one although it may seem hold on we have a scale setting this one is a little bit more useful not because you can change the scale of the patterns sideways and vertically but because you can add variation so I can add more variation to say look could we stretched my strokes wider a lot so I'll now get really thick chunky strokes and really thin ones and and likewise I can do the same thing up and down so it's maybe not so much that I want thick strokes and thin strokes so I leave that quite low as far as variation is concerned but if I say height I can now get some really long strokes and some really short little DD ones so that's where this thing really sort of comes in useful and then finally down here rotate one of the most useful settings how would you like these things to be turned because right now they're all facing the exact same direction if I turn on some rotation maybe ten degrees this will give me a bit of variance in which direction they go so yet again just throwing whatever number you like maybe 45 degrees get a bit of variation in there well if you're trying to make it look like various brush strokes they all tend to broadly go in the same direction so if that's your aim maybe don't go too far with this one and the last bit the bottom cross is this just tells cinema to sort of try and make crisscross patterns so if you draw a stroke perfectly in middle cinema rather just putting strokes here and there and everywhere it'll always try make some little crosses as if you've gone cross cross cross cross and you sort of overlapped yourself not that different to be honest from just cranking up the rotation setting by itself but it's there okay and just one last little thing depending on the pattern you've made you may notice that some of these strokes on certain slides it just never really crosses the border turning on tile allows this patent to sort of wrap back around to the start and repeats and loop over and over again so tiling can be useful you've just got to be careful with it because you can also find that sometimes it makes a bit of a heavy line along the left-hand side and the top so try it with it turned on try it with it turned off you might find it either makes things worse or it improves any gaps you've got so just be a little bit careful with that one I'll leave it turned off and hello right okay so that's your basic pattern and if you want by the way you can just use this this could be stubble on someone's chin if you're doing a cartoon character this could be sort of random markings or damage on a wall so just using this as a sort of simple scattering texture it can be useful but we're gonna go into the next pages because for me this is cinema as a 3d software and for me it's all about the lighting and shading in the shadows and this pattern this flat image just well it doesn't happening so let's jump on over to these next two pages we're gonna skip over the color settings really quickly because it's incredibly basic this just lets you color things up what it's gonna do is look for the black and whites and it's gonna say look dark stroke color well maybe I want them to be blue there you go they're blue or pink they're pink and the other one is background color what color should the white bit be well maybe light blue so you know they go that's it it just lets you color up the strokes ignore the one in the middle we'll come back to it or at least I need to still explain what it is but dark strokes and background is your hatch system so on to the last page the fun bit now just before I go any further for this I'm gonna project this properly you've noticed perhaps that I've got these big chunky strokes on my torus and these very little ones on my stick figure you do have to either texture object properly or set up some movies I'm just gonna be really lazy and I'm gonna say to both of these textures could you two guys one two could you just throw yourself flat on the front of the artwork so they go that'll do me and oh sorry a frontal so you can either go flat in one direction like X Y and Zed or if you go for frontal it'll just sort of slam it on from your point of view so let's give that quick test okay so let's throw in our render region turn this back on now you'll notice that all of these patterns I just slapped on blandly flatly onto our objects there's no shading there's no lighting here we can turn this on in illumination what we do is we say what should effect the shading of this effect so nine times out of ten you're going to want your lighting to affect the shading on the surface so let's turn on line mode these by the way are pretty much the same settings from our cell shader and our art shader and to be honest and in the next one we're gonna get to the spot shader okay so let's make our light effect the object and to begin with this doesn't look like much what we need to do is layer up multiple layers of all these little hatch shading specks and then this will create the shading so right now we have one left to be honest level is not the best word I would have said layers because this is literally going to layer things on top of each other so there's one if I bump it up to two that's two let's keep going so three four five six seven hopefully this point you can start to see my light over here is kind of somewhat illuminating the surface we're using these shaded specs as our shadow and I'll tell you what then we just lose all that color added let me yeah make the background white and make the strokes and black again okay so we're literally putting all these little marks onto the surface to make the shading and if I just sort of skip ahead and say look let's go for ten levels or maybe let's go for fifteen levels it will give it slower as we keep going up because it's got more work to do twenty ok now we're really starting to get our shading in there maybe let's stop stop about 25 or so well okay fine let's stop at twenty apparently there's a limit if this is still not dense enough by the way this is where you can nip back into your shader settings and bump up the density over here so if I need a bit more maybe let's go 125 percent density is it just me or did that get less dense hmm we'll leave that 100 for now shall we let's let's call that one a bug okay back to our illumination so in here settings way so we've got our lights shining down creating illumination these settings are all the same I can say could you please include some shadows and we should now get the shadow cast onto the background do you could you please use the illumination of lights so again right now cinema does not take into account how bright the light sources turning its on means at the brightness the intensity here would suddenly have an effect those are your main settings down now but we've got two settings at the top here show dark strokes and show light strokes so right now we have this light area and then all the darkness is being caused by these dark strokes appearing on the surface you can have both you can have both black dark strokes shading in the shadows and also not just a blank slab of white for the bright areas but white inverted strokes for the light section so to make the shop a bit better boy first of all going to try and get rid of this big slab of white over here so I will just mention this threshold this is essentially is how much of the color range it should use so we're right now we're only using 80% of the brightness range once the light hits 80% brightness it just bleaches out into pure white so let me just boost this up to a hundred because it gives you a wider range of illumination so this big slab of white there should now have much more of a shading within there so I'm going to turn on light strokes and what you'll hopefully notice let me find an area where this will show up let's go here rather than just a white canvas with black strokes on there we can now also have white strokes so this will get rid of that sort of faded gradient hit look which kind of flows through it also if I turn it back off again you may have noticed we had these very sort of half faded strokes here and half faded strokes there if you're not a fan of those turn the light strokes on and instead they will be covered up and redrawn over the top with noodle with newer light strokes and this is giving us quite a nice sort of a harsh gritty very shaded look maybe my strokes are a bit too heavy there's too many of them so I would perhaps reduce the number of shading levels and if this is all starting to go a little bit too light and a bit too bright we can play around this diffuse so if I think my image here is too bright just either lean this to the dark side or the light side to make itself get lighter and darker that would have that would have an effect or if that's still not enough maybe consider not having black and white as our limits you can see here I've still got this big slab of white if I swap my white diffuse illumination so diffused by the way that's just like standard lighting if I swap the white for just a bit of a slightly darker gray that should lose that big bright area there and likewise if I don't like the black I could boost up the black and raise the dark areas now dukka dukka mind this is a very contrast image I've gone for here if I tone my colors down a bit maybe I'll make the white bits well actually actually this is probably good at home to mention this extra color here so we've got black for the dark strokes white for the light strokes and now at this point the background maybe shouldn't be white it should maybe be something a bit more of a halfway house so if I set my sort of neutral background to a gray I'll now have black bits for the shadow and white bits for the illumination so this maybe also helps explain the light strokes than the dark strokes but there you go so yeah so we could maybe make the dark ones not pitch-black maybe that's a bit to dark I said a bit of a lightness into there and maybe the white ones don't have to be pure white we we could tone those down to a light shade of gray perhaps and give it a second let it render and there we go you can start to get this this nicer look but if you throw in the right the right artwork you could get a nice crosshatched gentle pencil shaded look to your surface and any other sort of hand sketched style you're interested in anyway there we go that should do us for the hat shader so onto the final bit now the final home run and this will be quite a quick one so I say goodbye to our hatch shader will keep the scene again the final thing in the list is the sketch and toon spot shader now as soon as I had this it all goes a bit weird we just have these big black and white squiggly wavy lines and to be honest this is just because our spot pattern is so gigantic let's jump into the spot shader and go straight let's make a beeline just fold some of these down don't need to see all these details let's make a beeline for the scale okay so we have 100% scale in a minute let's turn this down significantly let's go down to about 10 percent right now hopefully you can see what we're aiming are here the spot shader is going to make a series of spots circles which get larger or smaller in order to generate the shading on the surface because the texture is square and I have a widescreen project the spots are being stretched out into these wide circles I'm just beef them up a bit for you so my spots aren't round so here you've got U and V width and height you can use these to squash and stretch them into the correct aspect ratio if you need so what we're doing sixteen by nine so if I go sort of about 65% width that should squash my circles back roughly into circles once again and just while showing you this example you may notice you have a closer look I'm not sure how much YouTube's gonna butcher the quality here but yeah I have some very jagged pixels if you're going to use cinemas spot shader one big bit of advice I can give you in your render settings coach your anti-aliasing and bump it up the best this will improve the quality of all these circles quite noticeably and to be honest I may actually come back in here and increase the quality even further it depends depends how it goes but sometimes you've got to bump up the max and you've even got to bump up the minimum because the spot shader and it requires a lot of detail so let's bump this back down to 10% we now have all these circles creating the shading and to be brutally honest it's very similar to what we've already seen before you can choose does the shading just face the camera that's what the camera checkboxes or we could turn this off and turn on lights and say nope you should face the light source instead should it take into account specular highlights should it make shadows so if I turn on the shadow setting you'll now get this dark shadow on the background again and should it take into account how bright the light sources actually are should it take the illumination into account so those settings are all the same as the ones we've seen before in terms of other bits and pieces it's really discretion of choose a shape do you want this to be a series of circles do you want a sort of diamond pan Tara let me just make this a bit chunkier so you can see it more easily oh yeah so you do want this diamond pattern you want some squares you want a series of lines this is the kind of shading they'll use on banknotes for example they get these lines which get thick and thin to do the shading this one in particular does need very good anti-aliasing if I shrink this down to a much more reasonable size which would be about five ten percent the quality is really a bit iffy so you're gonna have to jump into your render settings and it tends to be the minimum which doesn't do the job properly so if I boost the minimum anti-aliasing let's go for 2x2 that should immediately help go further let's go four by four okay still not enough let's bump up the maximum let's say maximum 8 by 8 this is not something you would generally ideally do in most situations however sketch and tune renders usually so faster anyway that even with these absurdly high anti-aliasing settings our render times are still pretty reasonable I mean this this takes 5 seconds so yeah I'd be happy with that and there we go we've now got a we've now got a decent quality especially compared to with how it originally looked which was this so yeah go for best and crank up those quality levels you can see it coming down there now okay so yep so choose a pattern by the way you can choose texture which allows you to load in your own artwork so just give it a black my picture and you can use your own bit of artwork for this shading style but I think more or less that is about it so I hope this has all been useful I hope this is a let you learn something new about sketch which maybe you didn't realize was there this is mesh from 3d fluff I'll see you in the next video you

Channel: 3DFluff

Views: 13,104

Keywords: cinema 4d, c4d, maxon, 3d fluff, gsg, greyscale gorilla, cineversity, digital meat, nose man, mash, tutorial, training, guide, lesson, how to, mograph, matthew oneill, s&t, sketch and toon, cartoon, toon, drawing, cel, spots, art, hatch, shader, npr, pencil, doodle, ink, sketchup

Id: rq1w5uwi9Y8

Length: 41min 37sec (2497 seconds)

Published: Wed Jun 06 2018