Latest Tutorials
Tutorial | Instructor | Date Updated | Runtime | Views | Relevance |
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Packaging Design: The Folding Flap Problem
Certain elements of the artwork need to be discarded, as they pose more of an issue, rather than help us with modelling the design. The elements I’m referring to, are the flaps. Although flaps are useful when constructing a real package out of cardboard, they pose a huge problem when we try to incorporate them into the 3D model. If you wish to follow along, please download the scene files from the “Files” button above. |
Athanasios Pozantzis | May 03 2017 | 09:03 | 11051 | |
Packaging Design: Modeling a Pack Using the Artwork as Reference
In this video, I will show you the method I use to create 3D models of package designs, using a hybrid method, that utilizes parts of the artwork for reference, and complementing with traditional 3D modeling. |
Athanasios Pozantzis | May 03 2017 | 06:26 | 5234 | |
Packaging Design: Folding the Polygon Box Design
In this video, I will show you how to fold the previously created design, using Cinema 4D’s modelling tools. While we are doing that, you will learn how to place the component axis so that the folding happens at the correct edge. We will also learn how to optimize the model and weld common point together. |
Athanasios Pozantzis | May 03 2017 | 06:34 | 5928 | |
Packaging Design: Adding Thickness to the Pack Model
In this video, I will show you how to fold the previously created design, using Cinema 4D’s modelling tools. While we are doing that, you will learn how to place the component axis so that the folding happens at the correct edge. We will also learn how to optimize the model and weld common point together. |
Athanasios Pozantzis | May 03 2017 | 06:08 | 4173 | |
Packaging Design: Rounding the Edges of the Pack
After modelling the “shell” of our design, we need to add thickness to the model, so that it looks like it’s made of some sort of cardboard. In this video, I will use Cinema 4D’s polygon modelling tools to add the required thickness, but first we need to align the axis of each component. Lastly, I will also show you how to compose the final design, by moving each component into it’s final position, taking into account the applied thickness. |
Athanasios Pozantzis | May 03 2017 | 06:15 | 3968 | |
Packaging Design: UV Unwrapping - Part 1 How to Unwrap a cube
In this video, I will take a step back from the 3D design itself, and show you how to unwrap a simple cube. |
Athanasios Pozantzis | May 03 2017 | 08:40 | 5810 | |
Packaging Design: UV Unwrapping - Part 2 Unwrapping the Outer Sleeve
NOTE: This tutorial is Part 2 of the series. In this video, we will apply the previously acquired knowledge of UV unwrapping a cube, in order to UV unwrap the outer sleeve of the 3D Design model. In the process, we will use some of Cinema 4D’s modelling tools to modify our 3D geometry, so that it unwraps properly. We will also refer to the Illustrator vector file, so that our unwrapping complies with the artwork placement. |
Athanasios Pozantzis | May 03 2017 | 09:44 | 4459 | |
Packaging Design: Applying Test Artwork to the 3D Model
With the outer sleeve properly UV Unwrapped, we will create a simple material from the vector file, that will allow us to apply the artwork on our 3D design, to make sure everything is in the correct position. We will also separate the outer part of the Sleeve from the inner part. |
Athanasios Pozantzis | May 03 2017 | 05:50 | 3591 | |
Packaging Design: Making a Layered Material Using Photoshop Smart Layers
Cinema 4D’s compatibility with Adobe Photoshop is legendary. In this video, I will show you how you can use Smart Layers inside Photoshop, to create a Layered material inside Cinema 4D, in order achieve the highest degree of control, for your texture. |
Athanasios Pozantzis | May 03 2017 | 07:13 | 3625 | |
Packaging Design: Creating Layered Textures Using only Reflectance
Unbeknownst to many, the reflectance channel is not only a channel that deals with reflections and speculars, but a fully fledged shading model, that can handle most of your material properties, in a single channel. In this video, I will show you how to do that, and how to prepare your model for very realistic rendering results. |
Athanasios Pozantzis | May 03 2017 | 09:49 | 3674 | |
Packaging Design: How Lights affect the Reflectance Channel Layers
In this video, we will take, yet another side-step from our 3D design, and look at the way the reflectance channel reacts to Cinema 4D light objects and image based lighting environments. With this, we shall set the foundations for adding realistic lighting to our 3D model design. |
Athanasios Pozantzis | May 03 2017 | 07:36 | 3212 | |
Packaging Design: Adding a Floor, a Camera, and Rendering with Team Render
In order to create realistic studio renders of 3D objects and designs, we need to add some extra objects. A floor and a camera is a good start. We will also learn how to setup Team render, in case you have a few computers sitting idle in your office, so that your renders take less time to finish. |
Athanasios Pozantzis | May 03 2017 | 06:09 | 2621 | |
Packaging Design: Lighting and Texture Fine Tuning
With our environment all set, let’s start tweaking our materials, so that they represent the final look and feel of the finished product. Since we’re exclusively going to be using the Reflectance channel, if you need more information about the way it works, please watch our series on Reflectance. Although it’s not required, it will allow you to understand better what we’re doing and why. |
Athanasios Pozantzis | May 03 2017 | 07:04 | 2705 | |
Packaging Design: Adding Ambient Occlusion to Enhance the Look
In this video, we will add an Ambient Occlusion shader to our Diffuse channel, to enhance the visibility of certain areas of our 3D design. We will also talk about the difference between the Scene Ambient Occlusion and AO applied as a shader. |
Athanasios Pozantzis | May 03 2017 | 05:16 | 2845 | |
Packaging Design: Adding Noise Bump to the Material
One way of adding realism to your 3D renders, is to add a small amount of natural texture to your materials, unless you’re rendering chrome spheres or mirrors. This is mostly accomplished by using a Bump Map created by a Noise Shader. We will apply this Noise to one of our reflectance channel layers, but pay close attention, as many users get confused as to where exactly they have to do that. |
Athanasios Pozantzis | May 03 2017 | 07:58 | 3900 | |
Packaging Design: Adding Embossing Using Bump Maps
Besides the obvious structural elements of your 3D design, there are some secondary ones, Embossing and Debossing, that require you to use a special technique, if you want them to look good, be flexible and fast to render. Its imperative that you use a customized version of your bitmap artwork to make them look convincing. |
Athanasios Pozantzis | May 03 2017 | 05:53 | 4340 | |
Packaging Design: Adding a Vase
With our 3D package all set, let’s add the final element of our composition. A cylindrical Vase that sits inside our box. Using just a Cylinder Primitive, and a number of texturing and lighting tricks, we will bring this Design to its final stage. |
Athanasios Pozantzis | May 03 2017 | 05:25 | 2554 | |
Combine Multiple Texture Projections with the Projector Shader
Use the Projector Shader to layer different texture map projections for dust, scratches, and imperfection to your reflectance. Discover how to use the Projector Shader to use different texture projections in one material to add layers of dusty scratchy and grimy imperfections to your materials reflectance by taking different decal mapped textures and transferring them into a single material using the projector shader. |
Darrin Frankovitz | May 01 2017 | 04:42 | 7685 | |
Combining Hair and MoGraph in Cineversity Brand ID: Series Introduction
Overview of tutorial series, recreating the play button mograph and hair system from the Cineversity Ident created by Ranger & Fox. This first lesson we’ll be looking at the Ident that Ranger & Fox created for Cineversity and discuss the sequence and which key moment we’ll look at rebuilding. The key moment we’ll look at this tutorial series will be the play button hair system. It is built from a prepared piece of geometry which can been see in Brett Morris’ NAB presentation. We’ll use this geometry to build a mograph and hair system which can be easily applied to the geometry and bring the hair to life by adding dynamic forces. |
Ranger&Fox | Apr 19 2017 | 01:35 | 6763 | |
Combining Hair and MoGraph in Cineversity Brand ID: Basic Hair Object & Material Setup
Start to build the foundation of the hair system in an isolated setting, adjusting parameters for length, hair count as well as color. This is the foundation of the system we’re looking to build, starting off with a polygon, we’ll apply a hair object to the polygon and prepare our hair object. Setting the hair length and hair as guides as will give us a single value to increase/decrease the hair count as we work. We’d like to see a little bit of color to the hair as we work, adding a gradient to the color hair material will be a great start. |
Ranger&Fox | Apr 19 2017 | 03:34 | 4127 | |
Combining Hair and MoGraph in Cineversity Brand ID: Create Framework by Cloning onto Object’s Edges
Using an asset from the ident, preparing the mograph cloner and adding a cube to be cloned along each edge of the play button. Importing the play button geometry asset from the Cineversity Ident, the aim of this lesson is to prime the mograph cloner. Create a simple cube and adjust the size to be narrower than its length, once this is added to the cloner, we’ll set the cloner type to object and add our asset play button to clone on to. Set the cloner to edge mode and adjust the scale on edge to allow the cloner to fix the length of the cube to the length of the edge it is assigned to. |
Ranger&Fox | Apr 19 2017 | 04:35 | 2204 | |
Combining Hair and MoGraph in Cineversity Brand ID: Generate Hair on Selected Clones
Integrating the hair system with the mograph cloner via a connect object, then adding a mograph selection to turn off some clones. Continuing on from the previous lesson, we’ll now integrate our hair object with the new geometry we have created with the mograph cloner. The mograph cloner will now be added to a connect object to be able to give the hair object clean geometry to generate onto. Using the mograph selection tool, we will select some key edges to be turned off on this object, then using the r18 feature, ‘hide selection’ will automatically hide the selected clones from the cloner, leaving us with a hair that is only partially covering the object. |
Ranger&Fox | Apr 19 2017 | 05:21 | 2132 | |
Combining Hair and MoGraph in Cineversity Brand ID: Alternate Hair Color Inverted MoGraph Selections
Duplicate the hair system, invert the mograph selection then change the color gradient. We’ll nest all of our needed elements together under a Null and name it ‘A’. Duplicate A and call the newly created null ‘B’, now that we have two hair identical hair systems, both looking at the same geometry source, we’ll now invert the mograph selection on group B. This will invert the visible cloners and new hair object will cover the remaining edges of the geometry. We’ll then duplicate the hair material and assign the new one to the hair object in group B and change the color to an alternate gradient. |
Ranger&Fox | Apr 19 2017 | 05:02 | 1864 | |
Combining Hair and MoGraph in Cineversity Brand ID: Style and Light Hair
Bring the scene to production ready rendering by adding color variation to the hair material and lights to the scene. All the foundations of the system are set up and working, though the rendering could be improved towards something that could be rendering into the ident. We’ll add two point lights in and position them to have a bright key and softer fill light, set both light’s shadows to ‘soft’, add a camera and position to see how the render looks. The add hue variation to the hair to add subtle changes in color to each strand of hair. |
Ranger&Fox | Apr 19 2017 | 06:02 | 2079 | |
Combining Hair and MoGraph in Cineversity Brand ID: Dynamically Animate Hair and Wind Forces
Add animation and movement to the hair by applying wind and turbulence forces. Thinking further as to how this should move in the sequence, its only a matter of adding some forces to the hair objects to create dynamic hair to animate withe assigned force’s characteristics. Adding a wind force will give us control over the direction of the hair’s movement, setting the angle of the wind to blow the hair back away from the tip of the play button will help with the visuals. Then we’ll add a turbulence in to give some variation to the directions, making the hair move in a more natural way. |
Ranger&Fox | Apr 19 2017 | 12:58 | 2265 |