How to Apply Grungy Materials Using Sketch & Toon's Spot Shader Video Lecture | Create stunning 3D Graphics with Cinema 4D - 3D & Animation

everybody it's EJ from I design comm and
today I'm going to be going over how you
can apply a nice grungy texture to your
3d objects in cinema 4d shaded with
sketch and tune to make it flat and 2d
and then to get back some of this nice
depth by adding this grunge enos that
has actually applied based on the
diffuse or the shading of your object
your 3d objects in your scene so the way
I'm going to be doing that is using a
shader that is actually part of sketch
in tune called the spot shader and
sketching too is so so deep there's
there's a lot of stuff to it a lot of
it's not very intuitive but hopefully
I'll help you kind of guide you through
how some of the stuff works I also
mention in this tutorial I'll be
mentioning the SEL shader if you don't
know much about it I'm going to post a
link to a previous tutorial I did that's
all about the SEL shader and then you
know I have a bunch of other sketching
toon tutorials as well if you want to
get into this nice flat 2d look inside
of cinema 4d so let's just get started
with how I use the spot shader and
sketch in tune to apply this grungy
material alright so you can see we have
our scene here and everything is
textured with this kind of grungy
texture except for this little pipe
right here so I'm going to go in double
click on the texture that's applied to
just this pipe and what we're going to
do and how I created this nice grungy
texture is actually using another shader
that comes with sketching - now sketch
in toon is super super deep there's a
lot to it and if you go to the sketch
into options here in this drop-down you
can see we actually have 4 shaders here
now I've discussed the cel shader in my
previous tutorials it kind of applies
this nice quantized flat shading to your
objects but we also have these other
options here and the option that I'm
going to go over today is this spot
shader and I'm going to apply that to
the material in the luminance channel
and you can see that this is applying
from the get-go this kind of like
halftone dot effect and I have the mix
mode set to multiply so it's just
multiplying on the color that we have
selected in here
so that's just kind of a nice little
setup to set that to multiply and then
you just have your underlying color
underneath so we're going to go into the
spot channel here and you can see that
we have all these options the first
you'll notice is the shape we have
circled diamonds checkers all this kind
of stuff and you actually see what's
going on up here this is the shape
that's being applied to our object and
it's actually applied in 3d space you
can see that there's bigger dots and
smaller dots and they're mapped on based
on this diffuse and you can see that
this is actually very reminiscent of the
self shader where we actually have all
these options down here as to how two
shades we have shadow diffuse specular
illumination and then by adjusting the
diffuse you can see that that is kind of
controlling where those large circles
are being mapped on and the white chip
here is kind of mapping where the
smaller dots are being mapped on we're
nothing at all so you can see you can
constrain how the dots are applied by
using this diffuse and right now it's
using it's actually getting its diffuse
values on our 3d geometry by using the
camera as a light source so that's on by
default so what we can actually do is
use lights in our scene to drive the
diffuse on our or the shading on our 3d
objects and then therefore control how
our diffuse is being mapped so you can
see that by changing it to lights I can
now move this diffuse value up and you
can see we're getting a low of our
circles here and you can see they're
stretched they're more oval like and
what we can do is actually go to the
scale and the U and the V and adjust
just the V value here to make our
circles horrible to make these circles a
little bit less oval like and actually
like circles so you can see that that's
the you know the controls there and you
can actually adjust the rotation if you
want which I'm not going to really touch
so in the on the base level that is what
the spot shader does but to get this
nice a grungy kind of noisy look I
didn't use the
the circle or anything like that what
can actually do is go and use a texture
now once you use a texture number one
you have to load in a texture so what
I'm going to do is I'm going to load up
a layer channel and then I'm just going
to apply a couple noise shaders here and
I'm going to choose this one want this
top one and just overlay it on the
bottom so you know a lot of these noises
that you that you make we're kind of
accustomed to knowing exactly what a
certain type of noise looks like and it
looks it doesn't look very organic it
looks kind of like oh I know that's just
the default noise you know that that's
applied to it so to get more organic
looking noise what I usually like to do
is just double up or triple up or even
more just overlaying different noises on
top of each other so you can't
immediately recognize like oh that's
that's a booyah booyah yeah
so what I like to do is just kind of mix
them up so what I'm going to do is for
this one let's see I'm just going to use
a noise for this one just bring the
scale way down and you can already see
we're getting kind of this grungy look
right here I'm also going to adjust the
contrast all the way up and the thing to
keep in mind is that when you use a
custom of texture that what is going to
happen is it's the way that it's going
to be mapped the noise is going to be
mapped onto your object is by the
grayscale values and the more contrast
you have the less there's going to be a
gradual move from your noise to nothing
so what we can actually do is change
this color to actually kind of constrain
it to get whatever is light in about
half gray would be applied just like our
smaller circle so it'd be more in the
the lighter values of our diffuse or
shading on our object so what I'm going
to do with my second noise is actually
make it a little bit bigger so what I'm
going to do is I'm going to choose a
different noise I'm going to use this
Verona one and then just bring this
global scale up there
are down to ten and then what I'm going
to do is kind of adjust the brightness
here to say let's just see here about
negative thirty that that looks good so
you can see that automatically since
this has a lot of the darker values here
so what we're doing is basically
creating two noises one that has white
and light gray values and that'll be a
smaller noise and then bigger darker
values and I can actually move this to
just be constrained to darker gray and
black and you can see that what we're
doing is getting the darker noise being
applied where it's darker on the object
because we're actually shading it with
our lights in our scene our light is in
this top right corner over here and you
can see that our lighter values on our
object is getting applied that smaller
noise so hopefully that makes sense
because the stop or the spot shader
shades based on contrast and grayscale
values so what we can actually do now is
go into our spot color in our gap color
gap color is just the color between the
gaps of our noise so you can see that I
just made the the white parts of our
image darker and then the spot color is
actually what the color of our noise
will be that we actually created so we
can actually lighten that up a little
bit we don't want perfect black but you
do want a darker value here and then
what we can actually do is go and adjust
this diffuse now and actually control
how our smaller noise and our larger
noise are being mapped onto this object
so let me just just see what's going on
here so remember I said that because our
larger noise is actually middle gray and
dark like black and that's what's going
to be mapped on the darker parts of our
diffuse we can actually increase the
noise scale here and you can see that
that noise is being scaled up around our
edges here and we're actually losing
some of our smaller noise so by keeping
this relatively small
say 10% there we're constraining the
larger noise to just these edges the
darker parts of our object and allowing
for that lighter grays and whites values
of our smaller noise here set to overlay
in that middle part so you can see if I
make the noise smaller you'll see right
here some of those noise values being
controlled there as well so you can also
control where it's mapped based on the
brightness of each of these so I can
actually eat into part of our darker
noise so we're just controlling the dark
and light values of our total noise here
and you can and you can automatically
see live feedback in our viewport there
so we're controlling the darker the
values get the darker that or the more
of this 3d object is going to be eaten
up by this grunge enos so if we lighten
up our values with our lighter noise you
can see that that's kind of constraining
the darker larger noise to the edges and
we can actually go into our our noise
right here and brighten or darken this
up it's actually brighten it up and you
can see that now we're getting rid of a
lot of that noise and now it's just on
the edges here so it's all driven by
grayscale values here which is really
cool because you can actually control
how it's mapped onto your 3d image by
using black and white values so you can
see that the darker I go the more our
noise is going to cover up there
up our lighter diffuse or lighter
shading on our 3d object and the
brighter I go the more we're kind of
getting rid of the noise and
constraining it to just the darker edges
of our 3d object again we're we're
shading our 3d object by that light in
our scene so it's just an infinite light
right there so once you've got your
noise looking pretty good as far as
grayscale values go you can actually go
into the spots and then then start
messing with this diffuse value so say
you only want darkest edges
constrain to just the very edge of your
3d object you can just make a lighter
gray chip here you can see that we're
constraining just the noise to our edges
and I can bring the white value over and
kind of get more of a solid color in the
middle here so this is all really cool
and using the spot shader we're applying
the noise and grunge enos to our object
if we want more grunge all over our
object you can see on this actual sphere
here how it's going to you preview
before you actually see it applied to
your actual object we can actually add
specularity here to kind of brighten up
parts of this values here but I really
don't use it all that much yeah so we
can go let's see
say we want to get less of that noise
right here we can go into our noses and
just kind of brighten everything up you
can see that we're getting rid of those
little noise values here so we're just
getting solid color and then noise
around the edges so all controlled by
the contrast and the black and white
values of our noises that we chose we
can actually just go in here if you just
want to use one noise you can do that
too so you can see the difference
between adding two noises so I'm adding
a lighter noise on top of it just
overlaid on top and so you're getting
this nice organic more organic type of
noise so that's basically it in how I
applied the noise to my objects using
the spot shader in sketch in tune and it
really adds a lot to a flat scenes you
add a little bit more texture a little
more stylistic flat object kind of
design and I really like playing around
with this a lot and again you can cut
you can control how this is mapped
totally by kind of if you want to adjust
the light in your scene so let's go
and so I have my light up here let me
actually zoom my
on so I got a light right up here and
I'm actually controlling how everything
shaded based on my light now because
we're with that light we're changing the
shading on our object and then therefore
our noise is then being changed as well
so as i angle this a little bit higher
you can really see how things are being
changed so that's just driven by the
diffuse again if you don't even want to
use a light and you just want the camera
to be your main light source you can
actually do that and so it will actually
shade straight on just like that so very
cool stuff in the spot shader again that
is in sketch in tune and if again it
works like a fear if you're not familiar
with the cel shader that I discussed
earlier that is another part of this the
whole sketch in tune shaders definitely
go and check out my previous tutorials
on that and I'll post that in the in the
tutorial description hopefully that made
sense if you have any questions hit me
in the comments and as always thank you
guys so much for watching I will see you
in the next tutorial
bye guys