Cinema 4D Tutorial - Modeling Rubber Hose Style Characters 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 showing you how
you can create that rubber-hose style
character inside of cinema 4d and cinema
4d lite the free version of cinema 4d
that comes included with Adobe Creative
Cloud so everyone should be able to
follow along with this one and creating
a fun rubber-hose style gorilla
character and if you're on the fence
about 3d maybe this tutorial will make
you want to explore a little bit more so
let's create our little rubber-hose
gorilla let's learn how all right so
here's our gorilla man we're going to be
building a rubber hose style character
in cinema 4d see when I render this we
have some really nice flat shadings nice
flat cel shading which I'll cover and we
basically built this model or this
little character just using some very
simple splines and I rigged it up with
some kind of rubber hose style rigging
as well which I can cover in a follow up
tutorial but taking them basically just
going to show you how easy it is to
create a rubber hose style character
inside of so for D and kind of the
benefits of it and adding facial
features and all that good stuff and the
main benefit for creating 3d or creating
2d in 3d is that if we want a different
angle we rotate the camera if we want
the gorilla to walk around we select
this head and we literally rotate this
layer so we don't have to create some
kind of crazy facial rig where there's
parallax or anything like that some very
complicated facial rig that I see a lot
of people using mask effects we
literally rotate the head and I think
that's just a way better workflow Andy a
gorilla he agrees to you just he's like
yeah why do I do that so let's figure
out how we can very easily
make this little character here you can
see there is side view looking good
looks like you works out let's go ahead
and just make a new composition so when
we're going to be creating most of our
materials is using this primitive menu
and this is basically like the After
Effects shape options or shape
accoutrement that's available to you
inside of After Effects but these are
all the 3d versions of it so most of our
or most rubber-hose characters are made
with like capsule like objects like you
can definitely see that this looks like
an arm or something like that and
actually that's exactly what this is
going to be so we're going to use this
capsule and you see them dragging these
little handles here and this is
controlling and the object properties
the actual radius and the height but we
can actually just adjust those things by
pulling these handles and so we're going
to get the big gorilla arms and we'll
just rename this capsule by double
clicking on it and this will just be on
and what we're going to do is that just
a little bit of detail to the arm and
you can notice that you know I had a
little gorilla little thumb and the
knuckle there so I'm going to recreate
that by using a couple other capsules so
I'm going to command click and drag and
that will duplicate that arm and this
will be the thumb so I'll just go ahead
and reposition this I want to make sure
that I'm just constraining this to this
axis so I don't want to like move this
in 3d space so just clicking this will
allow us to just drag it in this Y X
direction so we're just constraining it
and there's my 4 up view here that we
can click on in and out of by clicking
this little top right box window so we
can kind of see how we're working here
but let's actually just go ahead and
adjust the orientation we can do this by
you know switching the orientation here
or just by rotating the object but I'll
just position this and again there's his
little thumb and let's just make sure
we're actually centered up and you can
see that actually move that in the Z's
I'll just do all to Z so it's nice and
lined up and there is his thumb now we
can add and duplicate this and make this
a knuckle and we'll just go ahead and
adjust the orientation here or we can
just simply rotate this and I'm holding
down shift constrain the degrees to ten
degree increments and we'll just move
this in place maybe make it a little
thicker there and move this forward so
you can see that you know just by using
a couple capsules we have a very
rudimentary and simple looking hand with
a knuckle and a thumb now this obviously
looks kind of garbagey because we can
actually see the geometry here but the
nice thing about working and building
this in 3d is that we can just simply
add a flat material to all of these
objects here so I'm just going to apply
a material I double click my material
manager here and I can open up my
material editor and you can see that the
default material is a color channel with
some diffuse and the diffuse shading
give the illusion of this is being a 3d
object we have highlight in the shadows
what we're going to do is actually just
get rid of the reflectance which is
actually a specular and the color and
we're going to turn on the luminance and
this is where we're going to be living
today is in the luminance channeling
you're going to notice if I hit render
by hitting command R this is going to be
like a flat color so I'm off like
applying a so effect to all my
geometries just flat white color so what
I can do is go ahead and maybe adjust
this to a nice blue color and then what
I can do even further introduce a little
bit more
shading into this or some cell shading
is go ahead and grab a cell shader that
is included with sketch in tune and
basically this allows us to apply cell
shading to our object and right now the
cell shading is using our camera as a
light and it's applying this gradient on
our object what I'm going to do is just
go ahead and just use some grayscale
values here in our diffuse gradient I'm
then going to interactive render region
so you can see exactly what is happening
here I'm just going to move the bounding
box here and now I'll just crank up this
triangle so it's full quality and I'll
right click and just go to alpha modes
can actually see your or your background
through there and you're going to see
that we now have just some Gray's and
this white texture or this white color
being applied to the object you can see
we have a little bit of some shading
going on what I'm going to do is turn
off the camera as the light source and
actually just have a light and then I'm
going to turn on shadows and you're
going to see that this is actually using
the default light in my scene and you
can see if where the default light is by
going to options and default light you
can see that as I move this little click
and drag here you can see I'm actually
controlling the default light in the
scene so you can kind of see how that
looks so we can just create a light all
together which is what we'll do and a
little bit but just to get this looking
somewhat decent we'll just leave it like
that
so right now we just have this grayscale
look to our cell shading but what I'm
actually going to do is use this mixed
mode for the self shading and actually
have this use a blending mode to combine
with this color that we originally set
and we only have a few color modes here
and what I'm going to use is use
multiply and just like in Photoshop
we're going to multiply this cell shader
on top of this blue material and you see
boom we have
have this nice blue hue with the darker
shade that's actually a little bit too
dark I think just a little bit more
subtle looking and boom we have some
really nice cell shading going on but
what I want to do is actually create two
shades and actually have his hand be a
different color so what we're going to
do is go ahead and when we rename this
blue and then I'll rename I'll duplicate
this material by just command clicking
dragging and duplicating and this will
be light blue light blur light blue and
I'll double click on this and we'll go
into our color here and make this just a
light blue and the nice thing about
using the cel shader as a multiply
blending mode is we can adjust the color
in here and change this to any color
we're just still have that cell shading
on top of it which is really really nice
so here's our light blue color or light
blue and we'll apply this to the thumb
and the knuckle you'll see that our
thumb and knuckle are a different color
but what I want to do is actually have
the bottom part of this the bottom part
of this capsule to have white on it so
we can do this very easily by making
this arm editable and what that means is
that I have no access to any of the
polygons or anything if I go into my
grudging lines you can see there are my
ones in my polygons and what I want
actually want to do is select all the
polygons here and apply a material to
those select polygons so what I'm going
to do is just hit C to make that
editable and now I can actually select
all of these polygons and what I'll do
is go into my side view or any one of
these views here either the right for
the front I'm going to go to my
rectangle selection mode and just select
all of these polygons you're going to
notice that we only selected hats and
the reason for that is because by
default when we select visible elements
or whatever select a select visible to
your camera view is enabled so you can
see that let me selected the polygons in
this front or in this right view but if
I check that off and select this you'll
see that all right I selected all of
those polygons so what I want to do is
store this as a selection and I can do
this by going to select and set
selection you'll see a little triangle
icon pop up in this school have our
stored selection so I'm going to do is
just rename this to hand so we can
actually know what the heck that is
later on and what we're going to do is
apply this light blue material on top of
the material we have currently so how
layers or how materials are stacked are
the rightmost are on top of the leftmost
so this bright material is stacked on
top of this left material so you can see
that if I render this that material just
over rid or overrode overwritten the
darker blue material so what I'm going
to do is go ahead and utilize this
selection tag we just made drag and drop
that into the selection field on our
light blue texture and what you're going
to notice is that now that applies that
material to just those polygons that we
selected which is awesome so let's go
ahead and go out of our line shading so
we don't need to see the line shading
anymore and we can go and interactive
render region here and see that that's
looking good so we got one arm okay so
let's go ahead and group these objects
together and this will be the left arm
you know and we'll just leave that there
for now and what I'm going to do is
build the body so what I'm going to do
is use another capsule here and this
will just rename this as body and let's
get out of our interactive render region
here let's move our arm over to the
right here
and again we'll just adjust our object
here fat gorilla and I'll rotate around
here and what I'm going to do is
actually rotate this forward so we can
have them kind of leading leaning
forward here and that's looking good
we're going to know is that he's got a
big old butt and what we need to do is
actually use some deformers so he's got
a big chest and then smaller waist so
what I'm going to do is jump into our
deformers menus here and we're going to
use a few of these as we as we move
along here but the one we're going to
use is this taper we're going to taper
his butt so can it go over here and have
a deform or act upon an object we need
to make it a child of that object and
I'm going to go onto my taper set and
hit this button fit to parent you're
going to see that that bounding box now
is encapsulating that entire capsule
object here and I can start messing
around fist now you're going to notice
is that it's actually tapering in the
wrong direction that tapering is back so
what we need to do is just hit R and
then rotate this and I'll rotate 90
degrees you can see that now we have
this nice little taper here and we got
he's got a smaller bum now which is good
and have a big old butt again and then
we can just you know just like the
curvature here we can have this fill it
a little bit fill it a little bit that
rhymed and we're going to go and adjust
like the bounding box size here so you
can see that we have this nice you know
it was a nice little tapering here and
if I move this up or down you can see
that we have this like nice arc almost
which is actually I think I like will do
something like that maybe rotate this
forward a little bit
I think I'm digging that so far so there
is like his body in his little little
bit so let's go ahead
and actually make his head and well do
it again he is another capsule and we're
just going to be using a bunch of
capsules and really what the what people
need to get past in 3d is that if you
want to get in the 3d and used to
after-effects really you were just using
shapes and colors in here too you know
with the cell shading and all this stuff
like that so you know it's just if
you're a good designer and you know how
to manipulate shapes and stuff like that
we just have three shapes in cinema 4d
so it's not that hard to actually get
into 3d its shapes forms color and just
completely space so let's put his head
right about there and we'll rename this
head and again we'll use let's use
another taper so we can taper his head
and I'll just again make this a child of
the head kick fit to parent and this
should actually be lined up nice and
I'll just move this up so we have this
nice taper head adjust the Y position
here okay if you've got a nice pointy
head using that taper and then we'll
give him some ears so let's go ahead and
for this we'll use a cylinder and we'll
just move this in 3d space here and
again this is when the four of you kind
of helps position things where you want
to go and we'll just rotate this 90
degrees just using some simple shapes to
create a little guy here this position
his ear in place and then we'll round
this capsule out here like going to
movie cylinder we'll rename this ear and
then we'll check on fill it you're going
to see that that fill it kind of rounds
out the edges there we can adjust the
radius here
to whatever we want and that's looking
good so now to give him his left ear and
what we'll actually do later on down the
line with his arm and then when we
eventually make is a leg is to use a
like a mirror object and in cinema 4d
that is called a symmetry object so to
have a symmetry object act along a
object we just drag it underneath and
you'll see that that just duplicated
that ear so awesome so let's actually go
ahead and let's add some materials to
his actual face so I'm going to come in
and click and drag that blue make this a
darker blue and then we'll apply this to
that head and then we'll create an even
darker blue will name this even darker
blue and make this the ear color so I'll
drag and drop that onto the year and you
can see that want to render that you
have some nice color going on we make
this a little bit darker so contrast a
little bit more to the rest of the body
and then we can apply that lighter blue
to the body as well cool looking good
and one thing I see right away is I
actually want to make this arm bigger
right now it looks kind of wimpy he's
got a big old body actually let me
actually just shrink his body a little
bit maybe that this arm up and I'll hit
key to scale and we'll just scale up his
arms and I look big and mighty alright
so we have his head we have his ear and
let's actually name this ear symmetry
I'm just going to do that because I'm a
lot of spell and there we go
so let's make his leg now so what I can
actually do is just take his arm command
click and drag and we'll just make this
is Leslie
and we just move this and shrink it down
a little bit too small but we'll shrink
this guy down go into our four up view
and maybe get rid of his knuckle and
maybe just give him just have him have
that thumb and what I can do then is
position this and make sure that they're
both kind of touching the floor both the
leg and the knuckle that looks pretty
good right now I'm just kind of tweaking
and just making his arms and everything
look a little bit bigger they're pretty
good you always want to make sure that
it looks good in all directions it's
kind of the little get show when you're
working in 3d for the first time you can
have one thing looking good in one view
like that
like that looks good and then you look
at from the side and like oh my god what
happened to his arm
so we'll just undo that cool so let's
look in fairly good at this point
so we have his legs his arms his head
actually group his head elements
together or right-click and group
objects this is his head now this Heath
head there we go and what we're going to
do is actually make sure that this
anchor point is centered to where like
his neck would be so I'm going to go
into the enable axis modification mode
and this will allow me to adjust the
anchor point or that pivot point of this
null so now if I uncheck that you can
see that now I can rotate his head you
know all orbit around that new anchor
point there looking good can move his
head down a little bit if I want so you
can see we have some really nice
cel-shaded monkey here right now he's
just got one set of arm and leg but
we'll fix that really quick so just like
we use the symmetry object to crate his
other ear we'll do the same thing with
the leg
and the arm so I'll go ahead and adjust
and just a throw the leg in a symmetry
and I'll throw the arm in a symmetry as
well so there we go so what one is show
now very quickly is how to add some nice
bending to the arms and it's very easy
so just like we have taper deformers on
our head and our little bum region we're
going to create a deforming you to bend
a former to bend these arms to give it a
nice little arc so what I'm going to do
is grab been to former go into the arm
here and the bend to former works two
ways so you can actually have it just as
a child of the object and then we can go
ahead and again hit fit the parent and
we can rotate or adjust the strength
here you can see that that's bending
everything but it's actually not bending
the the thumb or the knuckle elements
here it's just affecting this this arm
so what I'm going to do is just crank up
the strength I'm going to keep y-axis
length you can see that's stretching out
the arm and that just keeps it that same
y-axis length and then the other thing
I'm going to do is zero this out and I'm
actually bending the wrong direction I
want to actually rotate this 180 degrees
and then you can see okay now I'm
bending in the correct direction here
but again you can see that we're not
bending the thumb of the knuckle so what
we need to do to have this been áformer
affect all of these objects is place it
in the same level the heart hierarchy as
all the other objects we want to affect
and you'll see now now we have our
little bend deformer working great and
now if we want we can actually go ahead
go into our axis modification mode and
move this anchor point to like the
shoulder and go ahead and make sure this
is all centered up and then we can go
and Road
take this out and then rotate this Bend
and you can actually animate characters
completely using Bend deformers and
other deformers as well
one other deform I like to use is squash
and stretch as nice squash in stretching
movement to your objects so just
something to keep in mind that you can
then you know add some nice bends to
this and animate that way so let's go
ahead and add some facial features here
and actually his way let me just go
ahead and just to the leg so it legs are
right back where they should be that
looks a little bit better okay
you're going to see that one thing I
want to cover right away is with the
default camera here and we have no
camera in our scene so let's actually do
that add our camera and we'll just look
through it by clicking this little
viewport icon and you can see that we
have some kind of depth perspective here
with a lot of 2d artwork it's very flat
it's very geometric there's no depth
perspective there's no none of that like
camera distortion or anything like that
and we can get rid of that in 3d as well
by changing the production projection
over camera to something flatter or
parallel you can see that that just
flattened out and made our whole
composition a little bit more geometric
and you can see the difference between
perspective we got that really nice
depth perspective that vanishing point
action parallel just totally gets rid of
that all together and you can see once
that flattens out you can maybe see that
alright maybe his head's a little bit
too small let's scale up that head and
that's looking nice cool so we got our
flat more geometric flat composition you
can see that you know if I've rented
this out you think that maybe this was
made and you know illustrator or
something like that it's a nice flat
vector art this is 3d sucker look so
what we're going to do now is add a
space to our monkey and what we're going
to do let's actually first save save
early and save us off often
oh cool we got that saved and what we're
going to do is actually build some
shapes using some slimes
that we're going to use as a texture as
a material so I'll show you that in a
little bit but what we're going to do is
just kind of use some splines just like
shape layers have them fill and then
apply them as a material so let's go
ahead and create like a little facial
mask on our gorilla and let's actually
work maybe this mode here bring this
forward and we can actually see visually
how this will fit his face so maybe this
is like his eye mask here and I'll just
check on rounding for this rectangle so
this is very similar to like shape
layers and After Effects where we have
all the same kind of spline tools and
then what I'm going to do is duplicate
this rectangle and make like the mouth
portion of this part of the mask and
then round this out a little bit better
and then what I need to do is actually
add both of these splines together to
create one spline or one shape and just
like you would do a combined pass sort
of thing in After Effects we can do
something very similar in cinema and
that is the spline mask so what I'm
going to do is drag both of these two
rectangles splines underneath the spline
mask and you see that by default our
spline mask is set to Union or combined
and it's just combined both of those
masks together both of those splines
together so there's a roll facial mask
here I'm gonna just this dough if we
like but I think that's looking pretty
good so now we can actually use this
like a face mask
and apply this as a material so what
we're going to do to allow that to
happen is go and again we're going to
live in the luminance channel and let's
just go ahead and get the eyedropper and
we're just going to sample that lighter
blue and we're going to use this spline
as an alpha so we'll actually cut
through that shape so what we do to load
up that spline is use a spline shader if
I just move this up so you can guys can
see it
there's our spline shader and you're
going to see that what this does if I
right click my preview window and make
it flat so like a plane you're going to
see that we have a and B as an outline
and if I go to my actual spline shooter
options here you can see that this is
using a text spline and we can type in
anything in here and it will update and
then we can it would just be offset here
and kind of Center this up in this
little preview window and scale this
down and you can see hey we got some
text a minute but we don't actually want
to use text we're going on and check
that what we want to do is use a spline
and the space masks spline mask and
we'll just drag and drop that in there
and you can see we have our mask shape
in here and again we need to adjust this
offset so we kind of make this centered
in our little preview window here and
again maybe up the scale a little bit
and what you're going to notice is that
this is just an outline you can see on
our little actual window here this is
just like a stroke path and what we need
to do to actually have this fill is by
checking on that fill and just turning
down this line width because we actually
don't want any line width at all so now
it's yeah we have our shape we have it
as the Alpha Channel cutting through
that luminance color and now all we have
to do is go ahead and just apply this
face mask material I rename this as a
material on the
where's our face our head there we go
and we'll just apply this to our head
again we need the right most material to
apply on top of it you're going to see
that if I go on my interactive render
region our face is on there we just need
to do some manipulation to scale this
down a little bit so we're going to do
with our material selected we can
actually offset just like we were
offsetting in the actual spline shader
we can scale in offset this material
you're going to see that we actually
have this tiled and I'm just going to
check that so now we're going to have
that one mask there we can just kind of
Center this up and make sure that it
looks good and I think that's looking
pretty good
so there's his face mask let's actually
add a mouth so same thing we're going to
use another shape a spline here like the
rectangle just duplicate this this will
be the actually you know what let's just
create delete that let's get a circle
and this will be his mouth and what I'm
going to do is go to front view here and
I'm going to hit C and make this
editable and once I go into point mode I
can actually edit this just like a
spline in After Effects so you can see I
have my Bezier handles here and we can
kind of make him he had a cranky day he
hasn't had a banana in a while so maybe
he's a little bit cranky maybe a little
angry little angry pouty face gorilla
but you can see that just manipulating
these points is just very familiar to
how you would manipulate points in After
Effects or illustrator so we're just
kind of manipulating this around so
we'll rename this mouth mouth and what
I'll do is duplicate this facemask
texture rename this mouth and go ahead
and change this color to like a dark
gray and then instead of using that face
mask force line I'll just use the mouse
and like click out of this go to my main
perspective view here and let's go ahead
and duplicate this face mask texture and
I'll just replace this with the mouse
and we should have this somewhat yeah
there it is
and then all we have to do for this is
go to the coordinates I actually go into
the tag here and adjust the position
offset of his face the great thing about
this is that we can go ahead and still
adjust this mask or this shape layer
here and maybe that mouth is a little
bit too thick you can see as I'm moving
this it's actually updating in my
viewport there so that look that's
looking pretty good and the great thing
about this is we can change that and
maybe he's happy maybe just found a
banana but for right now he hasn't
amazingly so let's go ahead and let's
just add his eyes as well and what we're
going to do for the eyes is very similar
to what we used to create the face and
the mouth mats by drawing another shape
object here so let's go ahead and we'll
get our circle again scale this down and
we'll smooth this up like a one-eyed
gorilla and let's go ahead and again
make this editable and we'll rename this
eyeball and what I'll do is have him
look kind of Angry so I'm just going to
hit the shift key and just break that
tangent
and hit shift again and break that
tangent just flatten that out so he this
is like his nan is unimpressed I look so
there's his eye and we'll go ahead and
just like we did with the mouth we'll
just duplicate this whole rig rename
this eye and go into the Alpha Channel
here go into the spline and drag and
drop that eye in there and for this
we'll actually have this as the white
part there and let's go and apply this
material to the head and I'll just
duplicate that mouth part we place it
with the eye and then you can see his
eyeballs right there let's adjust the
offset here and move this over over to
the left and I can make this a little
bit bigger if I want and I can do this
either by going into the actual eye here
so the actual alpha here and just
scaling this up scale design that
actually works pretty good
we can also offset here as well maybe
something like that and then we can just
duplicate that eye and then just move it
to the left and Manny looks he's pissed
he's super cranky and right now I'm just
holding the option key and just going in
increments of 0.1 or a tenth of a
percent and just kind of fine-tuning a
positioning of his eyes let's go ahead
and give him a nose really quick and for
this I'm just going to use a simple
sphere and just position this on his
nose
that we don't want a clown nose
so I'll just scale this down and just
move this to the right duplicate one of
these materials and make this dark grey
ray and apply that to the nose you make
this a little smaller there we go and
then again we'll use a symmetry and then
we got his nostrils going looking good
now let's go ahead and add like his
pupils there so again I'm going to
create another circle so we're just
making a whole bunch of shapes for the
different aspects of his actual facial
features so this will actually be like
his people so I'll just do and or iris
at the iris I'm not so good with the no
of my design I'm not so good with the
little parts of the eye cool so let's do
that and then what we'll do again is go
into our luminance and I'll in the
luminance channel here create yet
another sex spline and we'll load up our
iris in here and again adjust this so
the eyeball is kind of centered and
let's actually position this this
actually fits which we see it in or
little cut out alpha Channel there you
might need to shrink this down a little
bit so right now he's like doing the
extreme I roll kind of thing
we'll just the offset here
like that and again what no that's a
funny-looking
kind of space there but what we can do
is get rid of the wine with get that
fill and use the fill color and what
I'll do is just load up a color channel
in the filled texture and that'll be
white I actually know this will need to
be black you need two black iris then we
can go into the background texture and
load up white so now we have the white
background and the black little iris
part there maybe make his eyeball a
little bit smaller so maybe 45 and 45
and adjusts all this stuff around so
yeah this that looks good right there
he's just like this is eyeball worthy
this tutorial is boring for this gorilla
so there we go we have that and see what
else can we do we can add like the
little line portion that I had right
there so like eyebrow bit so I can do is
just like in Photoshop I can use layers
in a texture field so what I'll do is
just add a layer to this whole spline
option here and now what I can do is
bring in a gradient and change this
gradient from you know horizontal to
vertical and what I'm going to do is 12
down this little triangle change the
interpolation between these two colors
to none so then I can just move this you
can see that I just adjust this you can
see there's that little line there
and then all we need to do is simply go
into our layer and use the blending mode
of multiply to multiply that on top load
the eyeball there so that's looking
really good he's looking very impressed
with that trick
and cool so the one thing we do so we
have our nose kind of in 3d space but
maybe we want to add some like a little
bit of his muzzle part of his mouth and
maybe make that a piece of geometry so
it doesn't look so flat from the side
view so what we can do is again grab a
capsule you can see that most of all
this stuff is just simple shaped splines
and capsules to create a hopefully
hopefully kind of cool character here so
I'm just going to adjust this and move
this in position and what I'll do is
apply that light blue and let's see what
this looks like with the interactive
render region on looking a little bit
better so we have like the nostrils we
can move the nostrils and move this out
so it's a little bit more 3d aside it's
got a little bit more depth and he's
looking really happy and now all we have
to do is drag and drop this in the head
here and then here's our mouth so I'll
just command click and drag and apply
this to a capsule here again need to
make this to be right of the capsule and
then let's put our capsule in the head
we can rename this Mosel that's just a
dog thing yeah I don't know but you can
see that the how the mouth is mapped is
kind of weird and what we want what we
need to do is change this projection to
something different
so right now he looks like he's a kind
of munching on something the side of his
cheek is chewing some gum or something
so what we can do instead of changing or
instead of using the UVW mapping we can
change this to something like flat
mapping and then we can go ahead
and see actually where this is where
this material is being mapped to by
going into our texture mode and you can
see our little grid here and I can move
this around and you can see oh there's
my mouth there it is and what I can do
is then with the texture mode so I can
actually scale this up so I'll hit key
and scale and you're going to see that
this is not like constrained the
proportions are not constrained and
that's actually fine so if we want to
scale up proportionally I just need to
enable this axis modification mode and
now we can scale up uniformly and move
this around and we can even rotate this
if we want to turn its frown upside down
something like that but I'll go ahead
and undo that you still be still pouting
tiny Machpelah face there we go
you can see now from the side view we
have a little grill again and I'll get
out of the material load there and have
his little muzzle and that just adds a
nice little bit of depth there and maybe
that's a little bit too far out
nostrils up here cool so that just adds
just that little bit of depth that when
he turns to the side gives a little bit
more depth to his actual face so one
final thing I want to do is lets us add
a an actual light so right now we've
been just using the default light and
we'll change that though so let's go
ahead and just add a light why men do is
use an infinite light and the infinite
light works by not where it's positioned
in our scene you can see that the
lighting hasn't changed but it changes
by the angle that the light is pointing
so wherever this blue line is pointing
that's actually the position of the
light and if I go ahead and turn on
shadows and we're going to use hard
shadows because we don't want soft
shadows for cartoon stuff you can see
that like the head and the chest and
stuff are casting shadows on top of the
geometry here which is looking pretty
good one thing I think is a little bit
too much is there's too much of that
darker shade in our cell shading
material so what I'll do is go ahead and
select open this one material up select
all of the materials here by holding
down command and clicking and I can
actually adjust all of these cell shader
materials all at once and maybe move
this a little bit to the left so we're
getting less of that dark shade I think
that's looking a little bit better it's
looking a little bit more subtle I mean
it's just this light a little bit more
if we want we'll see and see just a
little bit of subtle shading on our
objects you can adjust this by just
adjusting gradient knots and how that's
mapped onto our 3d geometry there so one
other thing I want to show is just a
really quick simple way to be able to
control how that eye is looking so if I
go into my eye
go into the luminance here here is my
actual circle spline or my iris you can
see that if I change this offset here
it's actually changing how he's looking
so what if I actually want to create
like a null in wherever I position and
null it will actually control where he's
looking to so what I'll do is a little
bit of expresso and this is just some
very light expresso with that because
all going to do is do almost like a pick
whip expression where if you know how to
pick whip and after-effects it's just
sort of some of the best easiest
expressions you can get into and not
actually need to know anything about
coding because I sure as heck don't but
what I'm going to do is just create a
null and we'll name this eye control and
what we'll do is that we'll have the X
and the y of this null control D X to
the Y offset on our roll I here so let's
go ahead and go to my eye control I'm
going to select the what the X here I'm
going to right click go to expressions
and set drivers so I want this X
position to drive the X offset here so
I'll right-click on this say set driven
and I want this to be relative to where
it is already so you can see that now if
I move this I control see that's
actually moving where he's looking
it's gotta be fairly gentle on how you
position this because just a few bits
left to right will change where he's
looking but what often want to go up and
down so I'll just adjust the Y so I'll
go set driver Y and then set driver
relative and now I can move this up or
down this will actually go backwards so
up means as I will go down down means is
that I will go up and you can see that
by just dragging this I'm actually
controlling where he is looking at so if
you want to control his eyes
you simply keyframe this one null which
is pretty cool
again just don't get to get too nutty
because you'll lose his eyeballs don't
want to do that he does not sound
thrilled about losing his eyeballs and
we can just euro this out to get back to
the original position
and boom we have our gorilla so the one
last thing I want to cover is how to
render out characters like this so we
have nice sharp crispy edges and not
blurred edges to composite inside of
After Effects so I'm going to go into my
render settings like just clicking the
little render setting button there then
I go to the anti-aliasing we're going to
change it to best and then you'll see
that we now have some nice crispy edges
here that we can then use to render out
of senator 4d and this will look nice
and crispy almost like rasterize shape
layers from say after Federer from
illustrator and you'll see that if I
actually change this to like animation
it kind of blurs it's very subtle but we
get a blurred render so either use cubic
you can see that sharpened or sync is
another what I like to use for nice
crispy edges but there you go now if you
want to actually learn how I rigged
these little characters here to see
here's my little gorilla he's fully
rigged and you can see he's got his arms
and legs all moving here like this I
have a bunch of tutorial actually a
couple of tutorials on how to get this
rubber-hose style of character rig
animation that you should definitely
check out but if you want to see how I
specifically rigged this gorilla
character let me know in the comment
section if there's enough people I'll go
ahead and rig
this guy and just to show you how
flexible this whole setup is is here is
an actual you know character again
facial features using spline spline
objects and then applying them and then
most of this character is you know just
other capsules so here's our little
capsule for the arm capsules for the
legs capsules for the feet capsules all
over the place so you know the workflow
values for the gorilla character also
easy to use for this flat style
character as well alright so you can see
that by just using some very simple 3d
shapes and using some splines to be able
to apply materials onto those shapes we
can very easily create a rubber hose
style character inside of 3d and have
the flexibility of rotating the face and
all that stuff without needing any
complicated kind of rigs inside of After
Effects so hopefully this will inspire
you to go out and play in 3d a little
bit more get to using those simple
shapes and navigating around inside of
3d because that's really how you start
learning is just how does it fit in your
current workflow so I'd love to see if
you guys make anything in this style be
sure to share it with me on Twitter on
Facebook on on the instagrams on the
interwebs all those places if you have
any questions be sure to leave them in
the comment sections I'd be happy to
answer all those and if you want to see
the rigging of this gorilla let me know
and maybe I'll put that out in the
future but thank you guys so much for
watching if you like this please hit
that like button I'd really appreciate
that
and I'll see all of you in the next
tutorial bye everybody