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CINEMA 4D Essentials with Rob Garrott is a graduated introduction to this complex 3D modeling, rendering, and animation program, which breaks down into installments that can be completed within 2 hours. This edition introduces two modeling techniques: HyperNURBS, or subdivision modeling, for creating smooth rounded objects, and sculpting. Rob explains how to set up for each workflow, and how to create basic shapes and then refine them with more detailed tools. The course provides a solid foundation for designers starting to shape their creations in CINEMA 4D.
The last step in the process of modeling these letters, and giving them a good chiseled look is going to be to create the chiseled edge that runs through the center of the letters. To do that, we need to do two things; we're going to have to raise up these points that run to the center line of our letters. Now, I've got my Knife tool set to Loop mode right now; that's what highlighting those areas here. I'm going to switch my tool to the Selection tool, and then I'm going to go to the Select menu, and grab something called a Path Selection. Path Selection allows you to draw a path around your object, and select points.
What I mean by that is, when I click and drag around this object, you're going to see that it's going to be making a path of selection that I can drag around, and when I let go, I end up with a selection of points around my object based on the path that I drag. You notice that I made a mistake there; that's because I was too far out when I did that. So let's undo that; Command+Z or Control+Z. And let's frame up our letter, so that the majority of the R is right there in frame, and let's go and drag around, and all the way out to the edge right there. I'm going to stop at that center ridge.
Then I'll hold the Shift key down, and start at this point; not the one all the way at the top, but this one right here, and then drag a selection down that way. Now, when I need to navigate, I'll just hold the 1 key down, and anytime I click again, I want to make sure I hold the Shift key down, so I'm adding to the selection. Then I'll drag across here, and add that selection right there. Now I can go back and get this selection right to the ridge, and then I can work my way around the G. So let's start here, work our way up that way, and then select again.
So you can see that I now have a ridge of points running through the center of my object. So what I want to do is to move those points, and that's a pretty drastic change, so what I'm going to do is make a copy of this, so I'll hold down the Control key, and drag a copy of this RG - merged down into the Hider, and we'll call this RG - merged, pre center bevel. And that pre center bevel tells me that I'm right about to make this unflat. So let's go to the RG - merged.
Now what we're going to do is switch to the Move tool, hit E on the keyboard, and then we'll take all of these points, and on the Z-axis, drag them out. That is about right, and I think that is a good depth for my bevel. Now, you're probably asking the question, that doesn't really look like much of a bevel; it's kind of rounded. And if we hit Command+R or Control+R on the keyboard, you'll see that in fact it is a bit round. That's because we need to do one more step. Let's hit A on the keyboard. The step that we need to do is to bevel this ridge of points. To do that, we're going to have to go into Edge mode.
Now, if I hold down the Control key, and click on Edge mode, that translates my selection of points into a selection of edges. So when I Control+Click on that, you'll see that now I have those edges selected. I'm getting another weird issue with the screen redraw, because of the recording software that I'm using; it's not displaying my selected edges correctly. But I can tell that they're selected because they're invisible. Now, you should be seeing your edges selected visibly here with a highlight, and that's what you'll see at home. So just know that I actually have my edges selected here, and everything should work just fine.
Now what I want to do is to right-click, and get the Bevel tool. The Bevel tool is going to allow us to create a beveled edge based on those selections. Let's zoom in on this area, so we can see how thick our bevel is going to be. This is very important; you want to click away from your bevel. So I'm going to click down here in the gray area. Click and drag to the right. Now, don't drag to the left, because you don't want to create those overlaps there. I'm going to undo that. What I'm going to do is click and drag to the right just a bit. And you can see, when I did that, look at the center line that I've got on my cut.
Now let's go around and examine before we move on; let's hit Command+R or Control+R on the keyboard. You can see that we've made a couple of errors in our selection for our edges. If you look at the edge on the serif, hit Command+R or Control+R on the keyboard, you can see that we've got this high ridge here that rounds off to nothing. It does it up here as well. And the reason for that is that we needed to select that edge there, along with that edge, and that edge, before we did the bevels. Let's undo that bevel, and then let's go back into the selection tool, hit spacebar, and we're in the Live Selection tool.
And I'll hold down the Shift key, and I'll select just that edge right there. Then I'll do the same thing on these serifs there, and there. Make sure you're getting just the right edge. I'll grab that one, and then select that edge right there. Now let's drag up, and zoom in, and grab just that edge right there. Now we can do our beveling again. Let's right-click, and go to the Bevel tool, and then I'm going to click and drag once to the right, and I'm going to do it right here. You can see now we're getting a really nice transitional edge.
I think that's going to do it right there. When we back out a little bit, you can see that we've got a great looking ridge running through the center of our letters. Now, we've got a couple of little problem spots right there, and let's click into the front view to see what's causing that. Let's also go into Point mode. And if I zoom in, you can see that I've got this jig right here; I want to have a straight line running out to that edge. So let's go into the Rectangular Selection tool, grab this center point right here, and then move that over, so that they line up. I'm going to grab that one, and move it over, so that it lines up as well.
That's going to clean that up nicely. And there's another spot that I noticed, if we do a rendering, Command+R or Control+R, we might have a little bit of an issue right there. Let's hit A on the keyboard, and yeah, we've got an issue. Let's take that, and raise it up, so we have a cleaner line running through here. And then let's take this bridge of points, and move them over, and take this bridge of points, and move them over that way. That's going to help to clean that up just a little bit through there.
Let's hit Command+R or Control+R on the keyboard, and you can see our type is looking fantastic. So that's a really great overview of the process that you'll go through for using HyperNURB modeling techniques. The most important thing is to have a goal in mind. I started with reference splines that I created in Illustrator, but you could use sketches, or pictures, or images. The important thing is to have a reference, so you know the shapes that you're creating. It's very rare that I'll model something from complete scratch when I'm HyperNURB modeling, but it can be done. It always go smoother, though, when you have a reference.
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