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Preparing to model: Setting up reference shapes


From:

CINEMA 4D Essentials 6: HyperNURB Modeling and Sculpting

with Rob Garrott

Video: Preparing to model: Setting up reference shapes

Normally, when I'm making a HyperNURB model, I'm working from a reference sketch that I've created, or someone has provided for me, or some other type of image that I'm using to model an object from. Because we're going to be modeling type in this example, I'm working with some paths that I have created in Illustrator. So I created this simple type logo using a font. I've made the font outlines, and I'm going to be importing it into CINEMA 4D. So I've saved this out as an Illustrator 8 file; that's what that 8 at the end of it means. So let's move over to CINEMA 4D, and import these paths.
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Watch the Online Video Course CINEMA 4D Essentials 6: HyperNURB Modeling and Sculpting
1h 24m Beginner Sep 20, 2012

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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.

Topics include:
  • What are HyperNURBS?
  • Setting up reference shapes
  • Creating a shape with the polygonal modeling tools
  • Connecting shapes and bridging gaps
  • Refining shapes with knife cuts
  • Moving points
  • Working with sculpting layers
  • Preparing objects for render
Subject:
3D + Animation
Software:
CINEMA 4D
Author:
Rob Garrott

Preparing to model: Setting up reference shapes

Normally, when I'm making a HyperNURB model, I'm working from a reference sketch that I've created, or someone has provided for me, or some other type of image that I'm using to model an object from. Because we're going to be modeling type in this example, I'm working with some paths that I have created in Illustrator. So I created this simple type logo using a font. I've made the font outlines, and I'm going to be importing it into CINEMA 4D. So I've saved this out as an Illustrator 8 file; that's what that 8 at the end of it means. So let's move over to CINEMA 4D, and import these paths.

So I'm going to go into the File menu in the Object Manager, and go to Merge Objects, and let's navigate to the Desktop, to the Exercise Files, and go to the hyper-nurb modeling, and select RG-8, and hit Open. In the Illustrator Import dialog box that comes up, I'll leave all the defaults on, and hit OK. And my type is way down here; that's because of the Illustrator ruler, and there's an issue with that being read correctly by C4D, so we can just zero out the position of this.

So let's click on that top Null object, go to the Coordinate Properties, and zero them out; just click 0, tab, 0, tab, 0, and don't zero the Scale out, and then make sure the Rotation is 0 as well. So now that that's zeroed out, my type is now on the center of the screen. And this is going to become my reference point for modeling my shapes. Let's go ahead and get this file saved out. Go to the File menu, and do a Save As, and then let's call this RG-model-working.c4d.

Then hit Save, and now our file is saved. Now we can get our scene set up, and ready for HyperNURB modeling. Most of the time when I start a HyperNURB model, I start off with a cube. So let's add a Cube to the scene. Then we'll also add a HyperNURB. So let's add a HyperNURB object, and take the cube, and make it a child of the HyperNURB. Then I want to make something called a Hider object. CINEMA 4D does not have a construction history, so I kind of invented a way to make one myself, and I call that a hider.

So I make a new Null object, put it at the very bottom of the scene, and I call it Hider. And then I make both of the status dots red. Hold down the Option or Alt key, and click twice on those two dots. Now anything I put under this will be hidden from view. For example, I can hold down the Control key, and place a copy of that cube, and put it under the hider, and that's a little bit of a gotcha, what you saw there. Notice that it accidentally created the Hider 2? I don't need that, so I'll just delete it out of there, and that happens when you have two things selected, and you accidentally drag.

This becomes my construction history. I'll call this one 001, and that's the very first step that I go through. So I hit the letter C on the keyboard to make the object editable. So now what we'll do is drag it over on the X-axis, and what I want to do is line it up with the vertical column on the R. So let's go to the Front view, and I'm going to change the Display options to Gouraud Shading (Lines), so we can actually see the lines on the surface of our object. And now I can see my cube, and let's get it lined up exactly in the center, and let's bring it up on the Y-axis.

Now I can go into Point mode, and then grab the Rectangular Selection tool, and this step is very, very important; I want to uncheck Only Select Visible Elements. I'll turn that off. And now when I make a selection with the Rectangular Selection tool, I know that I'm selecting all the objects. So let's middle mouse click back to the Perspective view, and you could see I'm selecting everything underneath the single point that I could see. If I turn this back on, and in the Front view, I draw a rectangle around that, you notice that it only selected the point on top.

So I want to leave this unchecked for the Rectangular Selection tool. Now I can grab both of those points. And then let's go to the Front view; bring that full screen. Let's take those points right there and move them up about there, take these points and move them down, and then I'll take all the points, and hit T on the keyboard to bring up the Scale tool, and only on the X-axis, I'm going to drag that in. You can see that I'm roughing in that starting point. So I think that's a good place to leave our model. We're going to talk about roughing in the shapes next.

But usually when I start a model, I get the first base shape put in position, then I do a big save, and then I'm ready to actually get started.

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