sketch tutorial us

��

� � � � � � � � � � � � � � � � � � � � �

Tutorial

•

Sketch and Toon Module Release 1 Tutorial Manual

© 2003 MAXON Computer, Inc. All Rights Reserved

Tutorial Development Kevin Aguirre, Rick Barrett, Chad Hofteig, Josh Miller,

Chris Villa

Scripting Rick Barrett

Voiceover Rick Cleber

Layout Rick Barrett

House Model Holger Schömann

Plane Model Artur Bala

Rhino Model Peter Fendrik

Fruit Bowl Model Chad Hofteig, Kevin Aguirre

MAXON, the MAXON logo, CINEMA 4D, BodyPaint 3D, HyperNURBs, Raybrush, and C.O.F.F.E.E. are trademarks of MAXON Computer GmbH and MAXON Computer Inc. in the United States and other countries.

Adobe and Adobe Photoshop are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and other countries.

All other brand names, product names, or trademarks belong to their respective holders.

TUTORIAL • 3

MAXON Computer End User License Agreement

NOTICE TO USER

WITH THE INSTALLATION OF BODYPAINT 3D (THE “SOFTWARE”) A CONTRACT IS CONCLUDED BETWEEN YOU

(“YOU” OR THE “USER”) AND MAXON COMPUTER GMBH ( THE “LICENSOR”), A COMPANY UNDER GERMAN LAW

WITH RESIDENCE IN FRIEDRICHSDORF, GERMANY.

WHEREAS BY USING AND/OR INSTALLING THE SOFTWARE YOU ACCEPT ALL THE TERMS AND CONDITIONS OF

THIS AGREEMENT. IN THE CASE OF NON-ACCEPTANCE OF THIS LICENSE YOU ARE NOT PERMITTED TO INSTALL

THE SOFTWARE.

IF YOU DO NOT ACCEPT THIS LICENSE PLEASE SEND THE SOFTWARE TOGETHER WITH ACCOMPANYING

DOCUMENTATION TO MAXON COMPUTER OR TO THE SUPPLIER WHERE YOU BOUGHT THE SOFTWARE.

1. General

Under this contract the Licensor grants to you, the User, a non-exclusive license to use the Software and its

associated documentation. The Software itself, as well as the copy of the Software or any other copy you are

authorized to make under this license, remain the property of the Licensor.

2. Use of the Software

You are authorized to copy the Software as far as the copy is necessary to use the Software. Necessary copies are

the installation of the program from the original disk to the mass storage medium of your hardware as well as

the loading of the program into RAM.

(2) Furthermore the User is entitled to make a backup copy. However only one backup copy may be made and

kept in store. This backup copy must be identifi ed as a backup copy of the licensed Software.

(3) Further copies are not permitted; this also includes the making of a hard copy of the program code on a

printer as well as copies, in any form, of the documentation.

3. Multiple use and network operation

(1) You may use the Software on any single hardware platform, Macintosh or Windows, and must decide on the

platform (Macintosh or Windows operating system) at the time of installation of the Software. If you change

the hardware you are obliged to delete the Software from the mass storage medium of the hardware used up to

then. A simultaneous installation or use on more than one hardware system is not permitted.

(2) The use of the licensed Software for network operation or other client server systems is prohibited if this

opens the possibility of simultaneous multiple use of the Software. In the case that you intend to use the

Software within a network or other client server system you should ensure that multiple use is not possible by

employing the necessary access security. Otherwise you will be required to pay to the Licensor a special network

license fee, the amount of which is determined by the number of Users admitted to the network.

(3) The license fee for network operation of the Software will be communicated to you by the Licensor

immediately after you have indicated the number of admitted users in writing. The correct address of the

4 • TUTORIAL •

Licensor is given in the manual and also at the end of this contract. The network use may start only after the

relevant license fee is completely paid.

4. Transfer

(1) You may not rent, lease, sublicense or lend the Software or documentation. You may, however, transfer all

your rights to use the Software to another person or legal entity provided that you transfer this agreement, the

Software, including all copies, updates or prior versions as well as all documentation to such person or entity and

that you retain no copies, including copies stored on a computer and that the other person agrees that the terms

of this agreement remain valid and that his acceptance is communicated to the Licensor.

(2) You are obliged to carefully store the terms of the agreement. Prior to the transfer of the Software you should

inform the new user of these terms. In the case that the new user does not have the terms at hand at the time of

the transfer of the Software, he is obliged to request a second copy from the Licensor, the cost of which is born

by the new licensee.

(3) After transfer of this license to another user you no longer have a license to use the Software.

5. Updates

If the Software is an update to a previous version of the Software, you must possess a valid licence to such

previous version in order to use the update. You may continue to use the previous version of the Software only to

help the transition to and the installation of the update. After 90 days from the receipt of the update your licence

for the previous version of the Software expires and you are no longer permitted to use the previous version of

the Software, except as necessary to install the update.

6. Recompilation and changes of the Software

(1) The recompilation of the provided program code into other code forms as well as all other types of reverse

engineering of the different phases of Software production including any alterations of the Software are strictly

not allowed.

(2) The removal of the security against copy or similar safety system is only permitted if a faultless performance

of the Software is impaired or hindered by such security. The burden of proof for the fact that the performance

of the program is impaired or hindered by the security device rests with the User.

(3) Copyright notices, serial numbers or other identifi cations of the Software may not be removed or changed.

The Software is owned by the Licensor and its structure, organization and code are the valuable trade secrets of

the Licensor. It is also protected by United States Copyright and International Treaty provisions. Except as stated

above, this agreement does not grant you any intellectual property rights on the Software.

7. Limited warranty

(1) The parties to this agreement hereby agree that at present it is not possible to develop and produce software

in such a way that it is fi t for any conditions of use without problems. The Licensor warrants that the Software

will perform substantially in accordance with the documentation. The Licensor does not warrant that the

Software and the documentation comply with certain requirements and purposes of the User or works together

• TUTORIAL • 5

with other software used by the licensee. You are obliged to check the Software and the documentation carefully

immediately upon receipt and inform the Licensor in writing of apparent defects 14 days after receipt. Latent

defects have to be communicated in the same manner immediately after their discovery. Otherwise the Software

and documentation are considered to be faultless. The defects, in particular the symptoms that occurred, are to

be described in detail in as much as you are able to do so. The warranty is granted for a period of 6 months from

delivery of the Software (for the date of which the date of the purchase according to the invoice is decisive). The

Licensor is free to cure the defects by free repair or provision of a faultless update.

(2) The Licensor and its suppliers do not and cannot warrant the performance and the results you may obtain by

using the Software or documentation. The foregoing states the sole and exclusive remedies for the Licensor’s or

its suppliers’ breach of warranty, except for the foregoing limited warranty. The Licensor and its suppliers make

no warranties, express or implied, as to noninfringement of third party rights, merchantability, or fi tness for

any particular purpose. In no event will the Licensor or its suppliers be liable for any consequential, incidental

or special damages, including any lost profi ts or lost savings, even if a representative of the Licensor has been

advised of the possibility of such damages or for any claim by any third party.

(3) Some states or jurisdictions do not allow the exclusion or limitation of incidental, consequential or special

damages, or the exclusion of implied warranties or limitations on how long an implied warranty may last, so

the above limitations may not apply to you. In this case a special limited warranty is attached as exhibit to this

agreement, which becomes part of this agreement. To the extent permissible, any implied warranties are limited

to 6 months. This warranty gives you specifi c legal rights. You may have other rights which vary from state

to state or jurisdiction to jurisdiction. In the case that no special warranty is attached to your contract please

contact the Licensor for further warranty information.

The user is obliged to immediately inform the transport agent in writing of any eventual damages in transit and

has to provide the licensor with a copy of said correspondence, since all transportation is insured by the licensor

if shipment was procured by him.

8. Damage in transit

You are obliged to immediately inform the transport agent in writing of any eventual damages in transit and you

should provide the Licensor with a copy of said correspondence, since all transportation is insured by the Licensor

if shipment was procured by him.

9. Secrecy

You are obliged to take careful measures to protect the Software and its documentation, in particular the

serial number, from access by third parties. You are not permitted to duplicate or pass on the Software or

documentation. These obligations apply equally to your employees or other persons engaged by you to operate

the programs. You must pass on these obligations to such persons. You are liable for damages in all instances

where these obligations have not been met. These obligations apply equally to your employees or other persons

he entrusts to use the Software. The User will pass on these obligations to such persons. You are liable to pay the

Licensor all damages arising from failure to abide by these terms.

6 • TUTORIAL •

10. Information

In case of transfer of the Software you are obliged to inform the Licensor of the name and full address of the

transferee in writing. The address of the Licensor is stated in the manual and at the end of this contract.

11. Data Protection

For the purpose of customer registration and control of proper use of the programs the Licensor will store

personal data of the Users in accordance with the German law on Data Protection (Bundesdatenschutzgesetz).

This data may only be used for the above-mentioned purposes and will not be accessible to third parties. Upon

request of the User the Licensor will at any time inform the User of the data stored with regard to him.

12. Other

(1) This contract includes all rights and obligations of the parties. There are no other agreements. Any changes or

alterations of this agreement have to be performed in writing with reference to this agreement and have to be

signed by both contracting parties. This also applies to the agreement on abolition of the written form.

(2) This agreement is governed by German law. Place of jurisdiction is the competent court in Frankfurt am Main.

This agreement will not be governed by the United Nations Convention on Contracts for the International Sale of

Goods, the application of which is expressly excluded.

(3) If any part of this agreement is found void and unenforceable, it will not affect the validity of the balance of

the agreement which shall remain valid and enforceable according to its terms.

13. Termination

This agreement shall automatically terminate upon failure by you to comply with its terms despite being given an

additional period to do so. In case of termination due to the aforementioned reason, you are obliged to return

the program and all documentation to the Licensor. Furthermore, upon request of Licensor you must submit

written declaration that you are not in possession of any copy of the Software on data storage devices or on the

computer itself.

14. Information and Notices

Should you have any questions concerning this agreement or if you desire to contact MAXON Computer for any

reason and for all notifi cations to be performed under this agreement, please write to:

MAXON Computer GmbH, Max-Planck-Str. 20, D-61381, Friedrichsdorf, Germany.

or for North and South America to:

MAXON Computer, Inc., 2640 Lavery Court Suite A, Newbury Park, CA 91320, USA.

or for the United Kingdom and Republic of Ireland to:

MAXON Computer Ltd, The Old School, Greenfi eld, Bedford MK45 5DE, United Kingdom.

We will also be pleased to provide you with the address of your nearest supplier.

• TUTORIAL • 7

IntroductionMAXON’s Sketch and Toon module for CINEMA 4D R8 provides the most comprehensive and easy to use non-photorealistic rendering solution available. To help you quickly become acquainted with all of the aspects of the application, the Sketch and Toon tutorial is provided in video format on the Documentation CD. The read along text provided here is intended as a companion to the video, to aid you in completing the individual steps. You may wish the watch the entire video for a section, and then follow the printed documentation as you complete the tasks in that section.

To launch the video tutorial, just insert your Documentation CD and launch the Sketch Tutorial application. From the menu, choose which section you’d like to view. During the tutorial, watch the QuickTips section in the bottom right for additional information, fi le locations and shortcut keys.

At MAXON, we strive to fully equip users to be effective 3D artists. We hope that this tutorial serves as the foundation for many successful 3D projects.

8 • TUTORIAL •

• TUTORIAL • 9

1 Quickstart - Architectural SketchIn this tutorial, you’ll learn the following skills:• Basic capabilities and user elements of Sketch and Toon• Using Line and Style presets

Welcome to non-photorealistic rendering with Sketch and Toon. The Sketch and Toon module consists of fi ve main functions - lines, cel shading, art shading, hatching and spot shading. These functions combine to make Sketch and Toon one of the most comprehensive NPR tools available.

Later tutorials will provide in depth instruction in Sketch and Toon’s shading tools, but this tutorial will focus on using preset lines and styles to easily create sketched outlines of your 3D model.

Two basic types of presets can be used with Sketch and Toon. Line presets include all of the basic settings that control the appearance of lines in Sketch. Style presets contain the Sketch effect settings, including line types, render and shading settings. Obviously, using these presets can save a lot of time, and sharing these presets with other users can help you extend Sketch to include different creative styles.

To begin using a new Sketch preset, you need to copy it into the Sketch preset folder. Navigate to your CINEMA 4D application directory and locate the Preset folder within Modules\Sketch\Res. Copy the Cloned Lines.c4d and Cloned Style.c4d fi les from the tutorial CD into this folder. After you restart CINEMA 4D, these presets will be available.

Next, you’ll use these presets to create a sketch of this house model by Holger Schömann. Open the House_Start.c4d fi le from the tutorial CD.

Copy PresetsFrom: Tutorial Scenes\1-1 Architect Sketch\

To: Modules \Sketch \Res\Presets\

Open File:Tutorial Scenes\1-1 Architect Sketch\

House_Start.c4d

10 • TUTORIAL •

The fi rst thing you will need to create is the Sketch material. A Sketch material defi nes the “look” or “appearance” of the lines. In the Materials Manager, create a new Sketch material. Rename this material ‘Cloned Lines’.

Double click on the newly created material to access its properties within the Material Editor. Click the Main tab on the left side of the Material Editor. Among the Main properties, you will see a drop down fi eld called Presets. This fi eld automatically includes any line presets in your Sketch presets directory. Choose the Cloned Lines preset from the drop-down. This preset generates blue lines that vary in thickness and opacity based on the length of the stroke. Most importantly, the basic line is also cloned several times with different thickness to provide a sketchier look.

Open the Render Settings and click the Effects tab. When you fi rst create a Sketch line material, a Sketch and Toon Post Effect is added automatically. Select the Sketch and Toon Post Effect to view its settings.

The settings that are displayed determine how and where the lines will be drawn, as well as the rendering and basic shading properties of the Sketch and Toon effect.

This is where you will apply a Style preset. Select the Main tab and hit the Load Style button. Navigate to the Sketch\Res\Presets folder in your CINEMA 4D application directory. Select the Cloned Style c4d fi le and choose Open, which will load that Style’s settings to your scene. This particular style changes the types of lines drawn in the scene and eliminates the shading of the house to show the parchment background.

Don’t close the Render Settings just yet. The Style preset provided doesn’t defi ne a Sketch line material for the appearance of the lines.

Create Sketch Material:Cloned Lines

Apply Cloned Lines Preset

Apply Cloned Lines Preset

Open Render Settings:Apply Style Preset

• TUTORIAL • 11

Under the Lines tab you will see a fi eld for Default Visible, which is the default material that will be rendered for the visible lines in the scene. Drag and drop the Cloned Lines material from the Material Manager to the Default Visible fi eld. Now you have set which lines to render in the Style preset and effect settings, as well as the desired appearance of the rendered lines.

Perform a quick editor render of the scene to view the results of your work, then move on to the other tutorials to gain a more in-depth understanding of Sketch and Toon’s features.

Specify Default Visible material

Render the Scene

12 • TUTORIAL •

• TUTORIAL • 13

2 Technical IllustrationIn this tutorial, you’ll learn the following skills:• Defi ning basic Sketch line materials• Setting up line types in Sketch effect settings• Defi ning Visible and Hidden line styles• Rendering splines as lines• Using the Sketch Style tag

Create a New Sketch Material:Visible

Creating technical illustrations from original 3D drawings is rather simple with Sketch and Toon.

In this tutorial you will learn how to use the line controls of the Sketch and Toon shader to create a blueprint type of drawing using this model of a Woodworking Plane by Artur Bala.

Open the Plane Start.c4d scene fi le located in the Tutorial Scenes folder of your Documentation CD.

You’ll begin by setting up the materials that are going to be used to control the lines drawn by Sketch.

You are going to create three different materials to defi ne the three different lines styles in this scene. The fi rst line will defi ne all of the areas that are visible from the rendered view. The second will defi ne the lines that are not visible from the rendered view. This is any line that the object obscures.]The third line will defi ne the lines drawn to represent splines in the scene.

Create a new Sketch material in the Materials Manager. Rename this material to “Visible”. This is going to be the material used to generate the visible lines on the model.

Open Project File:Tutorial Scenes\2-1 Tech Illustration\

Plane Start.c4d

14 • TUTORIAL •

Double click on this material to open the Material Editor. Within the Material Editor select the Color Properties by clicking the color tab on the left side. This scene will represent a blueprint, with a blue background and white lines, so change the color to a pure white.

Once the Color Properties have been changed, switch to the Thickness Properties and lower the Thickness to 1. This will give you a fi ner stroke.

Open the Render Settings. Activate the Effects tab and select the Sketch and Toon Effect to display its properties.

Switch to the Shading tab within Sketch properties and change the Background color to a dark blue (R = 0, G = 0, B = 200). Also change the Object to “Background”. This will make the object take on the color of the Background while eliminating any shading.

If you render now you will see each of the front facing lines in white on a blue background. The next few steps will show how to go about adding the back facing, or hidden lines, of the object to your render.

Create a copy of the Visible material in the Materials Manager. Since this is going to be our hidden lines material rename it to “Hidden”. Open this material by double clicking on it in the Materials Manager.

In the Material Editor that appears, select the Strokes Properties. Activate the Enable checkbox as well as the Pattern checkbox. To differentiate the visible lines from the hidden you are going to change the Type option under the Pattern to Hidden. This preset generates a basic dashed line.

Next switch to the Opacity Properties and change the value to 50%. This will add some variation to the Hidden lines creating the effect of depth between the Visible and Hidden lines.

Color:Red = 255Green = 255Blue = 255

Thickness: 1

Open Render Settings

Background Color:Red = 0Green = 0Blue = 200

Copy “Visible” Material:Hidden

Enable Strokes

Enable PatternType: Hidden

Opacity: 50%

• TUTORIAL • 15

Now that you have created the material for the hidden lines you need to assign it to the hidden lines of the object in the Sketch and Toon Post Effect settings.

Open the Render Settings if they are not already open. Switch to the Effects section and choose Sketch and Toon. Once again, these are the Global render controls for Sketch and are applied to all objects in the scene.

Within the Global Sketch controls there are three different control levels (Simple, Intermediate, and Advanced) located in the Main Tab. This allows you to learn the basics of Sketch without being overwhelmed with options. As you get familiar with the parameters in each setting and need more detailed options you can change the controls to intermediate or advanced. In this tutorial you are going to use the Simple settings only.

Activate the Lines Tab within the Sketch and Toon Effect. This tab allows you to control what types of lines are rendered and assign different materials to each type of line. For now you are going to leave the Types as default.

Within the Lines Tab you will see a fi eld for “Default Visible”, and “Default Hidden”. The Visible fi eld is automatically fi lled in when you created the fi rst material but can be changed at any time by dragging and dropping a new material into the fi eld. The Default Hidden fi eld is blank by default. This fi eld defi nes the material that will be used for the hidden lines.

To assign your material to it drag the “Hidden” material from the Materials Manager and drop it onto the Default Hidden Field within the lines section.

Open Render Settings

Switch to Lines Tab

Drag Hidden material to Default Hidden fi eld

16 • TUTORIAL •

Splines were used to represent the attachment points of the three bolts in this model. Create one more material to defi ne the render style of these splines. Within the Materials Manager, create a new Sketch Material and rename this material “Spline”. Double click on the Sketch material to open the Material Editor.

Within the Editor you are going to change the Stroke Pattern, the Color and the Thickness. Click on the Strokes Properties and activate Pattern. Choose the Dash-dot preset from the Type dropdown. Switch to the Color tab and change it to a pure white. Switch to the Thickness tab and lower the value to 1 in order to match your other lines.

The Spline material can be applied via the Render Settings, but this is a Global setting and would apply to all of the splines in the scene. We only want the splines within the Lines Null to be rendered in this style. To accomplish this, drag and drop the “Spline” material from the Materials Manager and drop it onto the Lines Null.

The tag that is created is a Sketch Style Tag. This tag allows you to override the global settings and apply specifi c materials or Sketch options to individual objects or groups of objects, much like the common material application in CINEMA. Select the Sketch Style Tag that is applied to the “Lines” Object.

In the Attributes Manager you will see options that are identical to the setting in the Render Settings. These settings can be changed independent of the Global settings, allowing you greater control over the lines on a per object basis. Activate the Splines checkbox under the Lines tab. Switch to the Main Tab in the Attributes Manager and activate the “Include Children” checkbox. Now Sketch will render splines within the hierarchy to which the Style tag is attached.

Create a new Sketch material:Spline

Strokes Properties:Enable PatterType: Dash-dot

Color Properties:Red = 255Green = 255Blue = 255

Thickness: 1

Drag Spline material onto Lines Null

Sketch Style Tag:Lines Tab: Activate SplinesMain Tab: Activate Include Children

• TUTORIAL • 17

Once again, open the Render Settings if necessary and switch to the Effects tab. Select the Sketch and Toon Effect and activate the Lines tab. Select the Spline type in addition to the default lines. This will cause the splines in the lower right corner to be rendered in the default style.

Switch to the output tab and choose your desired resolution. Make sure the frame is set to Current Frame, so only a single frame is rendered.

On the Save tab, choose a fi le format and destination for the rendered fi le.

Finally, render your fi nished blueprint to the Picture Viewer.

Render Settings / Sketch Effect:Lines Tab: Activate Splines

Render Settings:Output Tab: Set Resolution Range: Current Frame

Render Settings:Save Tab: Set fi le format & destination

Render fi nished scene

18 • TUTORIAL •

• TUTORIAL • 19

3-1 Rhino LinesIn this tutorial, you’ll learn the following skills:• Advanced line settings and styles• Using the Sketch Render tag

Create a New Sketch Material

Open Project File:Tutorial Scenes\3-1 Rhino Lines\

Rhino_Lines_Start.c4d

It’s easy to create classic cartoon looks for your 3D scenes using the lines, cell shading and art shading of Sketch and Toon.

In this tutorial, you’ll learn how to create this cartoon rendering of a Rhino character designed by Peter Fendrik.

Open the Rhino_Start.c4d fi le from the Tutorial Scenes folder on the CD.

The fi rst thing you will need to create for this scene is the lines. These lines that you will create with Sketch will give the look of a hand drawn image.

From within the Materials Manager create a Sketch material. Double click on the Sketch material to open its settings into the Material Editor.

You will only need to change one parameter in this material. Select the Thickness text from the left side of the editor to display the properties related to line thickness.

Lower the Thickness to 1 so Sketch will draw thin lines for the entire scene.

Open the Render Settings and click the Effects tab. When you created the Sketch material a Sketch and Toon effect was automatically generated within the Effects tab of the Render Settings. The properties of this effect defi ne the global line settings, so it’s from within this effect that you will specify how Sketch will draw the lines for this scene. Select the Sketch and Toon effect from the list of Post Effects to edit its settings.

Thickness: 1

Open Render SettingsSketch Effect Settings

20 • TUTORIAL •

After selecting the Sketch and Toon effect several tabs will be displayed for each set of properties. Select the Main tab and change the Control Level to Advanced, which will give you access to a lot more complex parameters of Sketch.

Select the Lines tab, which contains options for all the Line types Sketch will render. Enable the following Line Types: Folds, Creases, Angle and Intersections.

Folds is the most basic line type, and includes the lines defi ning all front and back facing edges.

Creases are edges defi ned by the phong tag and phong edge breaks. Any edge marked as an edge break or between polygons separated by more than the phong angle will be rendered as a crease.

Angle is similar to creases, but allows you to specify a minimum and maximum breaking angle.

Intersections are lines that occur at intersections between objects, or between polygons within an object.

You might have noticed that as you enabled each Line Type, options became available for each Line Type. This is where you will defi ne exactly how the Lines will be rendered.

Under the Fold section in the Lines tab you will see an option for which direction the fold lines will be rendered. You are going to want to switch the Fold Direction to Front to Back, which means that the fold lines will be calculated from the front of the object to the back.

Render Settings / Sketch Effect:Main Tab: Control Level - Advanced

Render Settings / Sketch Effect:Lines Tab - Enable:

Folds Creases Angle Intersections

Render Settings / Sketch Effect:Lines Tab:

Fold Direction: Front to Back

• TUTORIAL • 21

The Crease section can be left at its default setting of 10 degrees. This causes Sketch to ignore phong breaks of less than 10 degrees so irregular shading of a fl at surface won’t cause additional creases to appear. In the Angle section, Change the Min. and Max. settings to 48 and 89 degrees respectively. This will generate a line for every angle on the geometry that is greater than or equal to 48 degrees and is less than or equal to 89 degrees.

In the Intersections area change the Objects from Self to Scene and enable Self-Intersection. This will calculate lines whenever there is an intersection of geometry with another piece of geometry in the scene. The feet of the Rhino are slightly intersecting the fl oor of the scene, so a line will be rendered outlining the feet of the Rhino around the fl oor.

Select the Render tab and change the Line AA to Normal. Because Sketch is a Post Effect, no antialiasing is performed when CINEMA 4D’s AA is set to None or Geometry. Setting Sketch Line AA to Normal will cause Sketch to perform a normal level of antialiasing on the lines even when CINEMA 4D’s antialiasing is disabled. Also, lower the Thickness Scale to 80%, which will scale down the thickness of the entire scene’s lines to give more of a hand drawn effect.

Now select the Shading tab and change Object to Shading. This will allow Sketch to shade objects in the scene with any Cinema material applied to them as opposed to shading the objects with one fl at color.

Change Model to Gradient, so the shading of the objects in the scene will be illuminated with a user defi ned gradient and not by a certain number of steps. Alterations to the gradient itself will not be necessary for this exercise.


Creases: 10 degrees Angle Min: 48 degrees Angle Max: 89 degrees


Intersections Objects: Scene Enable Self Intersection

Render Settings / Sketch Effect:Render Tab:

Line AA: Normal Thickness Scale: 80%

Render Settings / Sketch Effect:Shading Tab:

Object: Shading Model: Gradient

22 • TUTORIAL •

The render settings for Sketch are setup. If you would like to view how your lines will look in the scene select the Editor Display tab and enable Show Lines. Switch the display to 3D lines so only the lines visible to the camera are shown. You will want to only enable the line types that you setup in the Lines tab so enable only the following line types: Angle, Intersections, Folds, and Creases. This will give you an accurate representation of what your lines will look like when they are rendered.

For the most part the lines are now set up, but there are still some things that need to be altered on a per object basis. For example, the current line settings are not ideal for the landscapes in the scene. To fi x this you can use a Sketch Style tag to defi ne individual line settings for the landscapes. Select the Left Landscape and from within the Object Manager add a new Sketch Style Tag.

The Sketch Style tag provides the same options in the Attributes Manager as the Sketch effect provides within the Render Settings. Make sure the Control Level in the Main tab is set to Advanced. You’ll notice there’s also a Mix option in the Main tab. In addition to replacing the global line settings, the lines defi ned in each style tag can be mixed with those created by the global settings.

Under the Lines tab you are going to want to enable the following Line Types: Angle, Intersections, Folds, Creases, and Contour. The Contour line type renders lines based on the object contour from a specifi c viewpoint.

Under the Fold section change the Fold Direction to Front to Back. In the Crease section lower the Min to 1 degree. For the Angle section change the Min. and Max. settings to 35 and 95 degrees respectively. Set the Intersections Objects to Scene and make sure that Self-Intersection is enabled.

Render Settings / Sketch Effect:Editor Display Tab:

Display: 3D Lines Line Types - Enable: Angle Folds Creases Intersections

Add a Sketch Style Tag to Left Landscape

Attributes Manager / Sketch Style Tag:Main Tab: Control Level - Advanced

Attributes Manager / Sketch Style Tag:Lines Tab - Enable:

Angle Intersections Folds Creases Countour

Attributes Manager / Sketch Style Tag:Lines Tab

Fold Direction: Front to Back Creases Min: 1 degree Angle Min: 35 degrees Angle Max: 95 degrees Intersection Objects: Scene Enable Self Intersection

• TUTORIAL • 23

In the Contour section leave the Mode set to Position so Sketch will base the calculations for the Contour lines on the object’s position. Change the Position to View Z and all the other default settings for this section are fi ne.

When you created the Sketch style tag, a new default Sketch material was created automatically. Because this scene will use the same line style for all objects, you’ll want to use the Sketch material we created previously for this style tag.

Apply the original Sketch material to this style tag by dragging it from the Material manager and dropping it onto the Default Visible fi eld. You can then delete the Sketch material that was automatically created.

Copy this Style tag to the Right Landscape object so both objects are rendered with these settings. While holding the control key, click and drag the Style tag to the Right Landscape object.

Finally, the tail object requires a lot of calculation time due to its geometry, and doesn’t need lines because it will be shaded black later in this exercise. To reduce render times, you can omit this object from the Sketch line calculations. Find the tail object in the Rhino hierarchy and apply a Sketch Render Tag. In the Attributes Manager, deactivate the Allow Lines checkbox.

You can further optimize the scene by omitting the background plane from Sketch calculations. Copy the render tag to the Plane object and make sure Allow Shading and Allow Lines are disabled. This plane object is only used for the sky in the background and does not need to be calculated for Sketch shading or lines.

That completes the setup of lines for this scene. In the next section, you’ll tackle the cel shading aspects of the scene.


Contour Position: View Z


Default Visible: Sketch Mat

Copy style to Right Landscape

Add Sketch Render tag to Tail

Attributes Manager: Sketch Render Tag:Deactivate Allow Lines

Copy render tag to Plane objectDeactivate Allow ShadingDeactivate Allow Lines

24 • TUTORIAL •

• TUTORIAL • 25

3-2 Rhino Cel ShadingIn this tutorial, you’ll learn the following skills:• Using the Cel Shader• Cel Shader Illumination models and shadows• Using individual lights for cel shader illumination• Applying bump maps to cel shaders

Create a New Material:Rhino Skin

Open Project File:Tutorial Scenes\3-2 Rhino Cel\

Rhino_Cel_Start.c4d

In this section, you’ll add cel shaders to the Rhino in order to give it a cartoonier look.

Open the Rhino_Cel_Start.c4d scene fi le from the CD.

You can use Material Groups to easily organize and keep track of all your materials. Create a new Material Group from the Material Manager and name the group Cel Shaders.

With the Cel Shaders group selected, create a new material. The new material will be placed automatically into the group you have selected. Rename this material to ‘Rhino Skin’.

Double-click on the material to open it in the Material Editor and enable only the Luminance channel.

Select the Luminance channel to display its settings. Add the Cel Shader to the channel by clicking on the right triangle next to the texture fi eld and selecting the Cel Shader from the drop-down menu.

Click the Cel Shader text that is now displayed in the texture fi eld to view the shader’s parameters.

By default the Cel Shader illuminates an object relative to the position of the Camera. Since the scene is already lit, you will want to disable the Camera checkbox and enable the Lights checkbox. Now the Cel Shader will illuminate from the light’s position instead of the camera’s position.

Create a New Material Group:Cel Shaders

Rhino Skin Material:Enable only Luminance Channel

Rhino Skin Material - Luminance:Texture: Cel Shader

Rhino Skin - Cel Shader:Disable CameraEnable Lights

26 • TUTORIAL •

Next you will want to change the color of the Diffuse gradient to a more suitable rhino skin color. You will only need two knots for this gradient so click on the knot farthest to the right and drag it away from the gradient in any direction. This will remove the knot from the gradient.

Next, double-click on the second knot and change the color to a light gray color, such as Red equals 190, Green equals 190, Blue equals 190.

Position the knot at 45% of the gradient. You can enter this numerically by expanding the arrow on the far left side of the gradient and entering 45 into the Pos fi eld.

Double-click on the fi rst knot and change the color to the following settings: Red equals 160, Green equals 160, and Blue equals 160. The position of this knot is not really important as long as it is on the left side of the light gray knot.

The Rhino Skin material is now fi nished, but the other materials for the Rhino still need to be created. Copy the Rhino Skin material and rename the copied material to ‘Inner Ear’.

Click on the Cel Shader text to open the shader’s settings. The only settings that need to be changed for this material are the colors for the knots on the Diffuse gradient. Double-click on the fi rst knot and change the color to a light pink with the following settings: Red equals 255, Green equals 193, and Blue equals 193.

Next, double-click on the second knot and change the color to the following settings: Red equals 255, Green equals 168, and Blue equals 168. Position this knot at 53% of the gradient. This gradient should go from a light pink to a darker pink.

Now you need to create a material for the horn and toenails of the Rhino. Create a copy of the Inner Ear material and rename it to Ivory.

Rhino Skin - Cel Shader:Diffuse Gradient - Knot 2Red = 190Green = 190Blue = 190Pos = 45%

Rhino Skin - Cel Shader:Diffuse Gradient - Knot 1Red = 160Green = 160Blue = 160

Inner Ear - Cel Shader:Diffuse Gradient - Knot 1Red = 255Green = 193Blue = 193Pos = 0%

Inner Ear - Cel Shader:Diffuse Gradient - Knot 2Red = 255Green = 168Blue = 168Pos = 53%

Copy Rhino Skin Material:Inner Ear

Copy Inner Ear Material:Ivory

• TUTORIAL • 27

Once again click on the Cel Shader text to open up the shader’s settings.

Double-click on the fi rst knot and change the color to the following settings: Red equals 254, Green equals 232, and Blue equals 180.

Now double-click on the second knot. Use a lighter saturation than the color used in the fi rst knot, such as: Red equals 255, Green equals 250, and Blue equals 232.

To give this material a little more detail you are going to want to insert another knot into the gradient. Click on the area of the interface right below the gradient and in between the other two knots. Change the color of this knot to the following settings: Red equals 254, Green equals 239, and Blue equals 203.

Place the fi rst knot at 24% of the gradient, the second at 40% of the gradient, and the third knot at 58% of the gradient. That completes the settings that needed to be changed for this material.

Create a copy of the “Rhino Skin” material. This material will provide shading for the tail of the rhino, so rename it “Tail Hair.”

Double-click this material to view its settings in the Material Editor. Select the Cel Shader in the Luminance channel to edit its properties.

Next, you’ll change the color and position of the gradient knots to achieve the desired look for this shader. Double-click the fi rst knot and change the color to Red equals 85, Green equals 85, Blue equals 85. Also position this knot at 23%.

Double click the second knot and change its color to pure black. Position this knot at 37% of the gradient.

Create another copy of the Rhino Skin material and rename it ‘Left Eye’. Click on the Cel Shader text to access the shader’s settings.

Ivory - Cel Shader:Diffuse Gradient - Knot 1Red = 254Green = 232Blue = 180Pos = 24%



Copy Rhino Skin Material:Tail Hair

Tail Hair - Cel Shader:Diffuse Gradient - Knot 1Red = 85Green = 85Blue = 85Pos = 23%

Tail Hair- Cel Shader:Diffuse Gradient - Knot 2Red = 0Green = 0Blue = 0Pos = 37%

Copy Rhino Skin Material:Left Eye

28 • TUTORIAL •

This shader is going to be a little more complex than the previous ones. Change the color of the fi rst knot to pure white and the second knot to pure black.

Next, insert two more knots in between the already existing ones. Now change the color of the newly created second knot by entering these settings into the color picker: Red equals 0, Green equals 0, and Blue equals 111. Also change the color of the third knot to the following settings: Red equals 89, Green equals 89, and Blue equals 255.

The last thing you need to do to the Diffuse gradient is reposition the knots. Position the fi rst knot at 17% of the gradient, the second knot at 75%, the third knot at 80%, and the forth knot at 98%. The display of the shader should resemble that of a blue eyeball.

Enable the Specular checkbox to simulate that cartoonish wet look in the eyes. Once you enable the Specular checkbox the Specular gradient will become active. Remove the second knot from the gradient.

Change the rightmost knot to solid white and position the knot at 98% of the gradient.

Because you are using a light to determine the illumination source of this material, you can specify which lights you want to include in the illumination. Switch Use Lights from Exclude to Include and then drag and drop the Left Eye Target light into the Lights fi eld. Now this material will only calculate its illumination from the Left Eye Target light.

Since the Rhino has two eyes you will need to copy the Left Eye material and place the Right Eye Target light into the Lights fi eld of the copied material. Copy the Left Eye material and rename it to Right Eye.

Open the Cel Shader settings and delete the Left Eye Target from the Lights fi eld. Drag and drop the Right Eye Target into the Lights fi eld.

Make one last copy of the Rhino Skin material and rename it to ‘Grass’.

Left Eye- Cel Shader:Diffuse Gradient - Knot 1Red = 255Green = 255Blue = 255Pos = 17%

Left Eye - Cel Shader:Diffuse Gradient - Knot 2Red = 0Green = 0Blue = 111Pos = 75%



Left Eye- Cel Shader:Enable Specular

Left Eye - Cel Shader:Specular Gradient - Knot 2Red = 255Green = 255Blue = 255Pos = 98%

Left Eye- Cel Shader:Use Lights: IncludeLights Field: Left Eye Target light

Copy Left Eye material:Right Eye

Left Eye- Cel Shader:Light fi eld: delete Left Eye TargetLight fi eld: Right Eye Target light

Copy Rhino Skin material:Grass

• TUTORIAL • 29

Before editing the parameters of the Cel Shader you will need to add some noise to the bump channel. Enable the Bump channel and select the ‘Bump’ text to view the channel’s settings. Add a Noise shader to this channel by clicking on the right triangle next to the texture fi eld and selecting Noise from the drop down menu.

Click on the Noise text to edit the shader’s settings. The only setting that needs to be changed is the Global Scale. Enter 15% into the Global Scale fi eld.

Now return to the Luminance channel and the Cel Shader settings. Insert two more knots into the Diffuse gradient creating a total of four knots. Change the knots to the following colors;

First knot: Red equals 139, Green equals 153, Blue equals 60, Second knot: Red equals 149, Green equals 166, Blue equals 55, Third knot: Red equals 177, Green equals 196, Blue equals 77, and the Forth knot: Red equals 193, Green equals 176, Blue equals 57.

Position the knots at the following positions: First knot at 0%, Second knot at 15%, Third knot at 54%, and the Fourth knot at 96%.

The Rhino is going to need to cast a shadow onto the grass below him. In order to do that you will have to enable the Shadows option and specify a color for the shadow which will be dropped onto the material. Enable Shadows and the Shadow gradient will become active.

Remove all the knots from the Shadow gradient except for one. With the last remaining knot change it’s color to the following settings: Red equals 37, Green equals 81, and Blue equals 32. This will produce a dark green shadow on the grass material.

Make sure to change the Shadows drop-down to Color. This option uses the Shadow gradient to determine the appearance of the shadow.

Grass Material:Enable Bump

Grass Material - Bump Channel:Texture: Noise shader

Grass - Noise Shader:Global Scale: 15%

Grass - Cel Shader:Diffuse Gradient - Knot 1Red = 139Green = 153Blue = 60Pos = 0%




Grass - Cel Shader:Shadow Gradient - Knot 1Red = 37Green = 81Blue = 32Pos = 0%

Grass - Cel Shader:Shadows: Color

Grass - Cel ShaderEnable Shadows

30 • TUTORIAL •

If you look at the display of the material at this point it looks a bit too smooth. This is because the cel shader hasn’t taken the Bump channel into account yet. Enable the Use Bump option so the cel shader will use the bump map that you created a little earlier.

Now that the cel shaders have been set up, they need to be applied to the appropriate objects in the scene. Drag and drop the Rhino Skin material onto the ‘body’ object in the Object Manager.

Next, drag and drop the Inner Ear material onto the ‘body’ object just like before. But this time you will need to restrict the material to the inner ear section of the Rhino. Select the Texture tag for the Inner Ear material and under the Tag tab of the Attributes Manager type ‘Inner Ear’ into the Selection fi eld.

Apply the Ivory material to the ‘body’ object as well. This material needs to be restricted to just the horn and toenails of the Rhino. So select the Texture tag for the Ivory material and type in ‘Horn and Toenails’ into the Selection fi eld.

Next, apply the tail material to the tail object. No restrictions are necessary for this texture.

Drag and drop the Left Eye material onto the ‘L Eye’ object in the Object Manager. Also drag and drop the Right Eye material onto the ‘R Eye’ object.

The last material that needs to be applied to the scene is the Grass material. Just like before drag and drop the Grass material onto the ‘Floor’ object.

Now your render will begin to look more complete. The fi nal step in creating this scene will be to use Sketch and Toon’s Art Shader to shade the landscape in the background.

Grass - Cel Shader:Enable Use Bump

Apply Rhino Skin material to “Body” object

Apply Inner Ear material to “Body” object

Restrict to “Inner Ear” Selection

Apply Ivory material to “Body” object

Restrict to “Horn and Toenails” Selection

Apply Tail material to “Tail” object

Apply Left Eye material to “L Eye” object

Apply Right Eye material to “R Eye” object

Apply Grass material to “Floor” object

• TUTORIAL • 31

3-3 Rhino Art ShadingIn this tutorial, you’ll learn the following skills:• Shaded sphere concept• How to create a shaded sphere for use with the Art Shader• Art Shader application and settings

Often artists use a shaded sphere to determine how to shade a drawing that is nothing but outlines. From this shaded sphere they can gather where the light is coming from, how long / short the falloff should be, and how much illumination the object should receive. In the same way, Sketch and Toon’s Art Shader translates a shaded sphere into an illumination and shading model for 3D objects. This shader does not use any of the lights used in the scene because the shader bases it’s illumination from a texture map.

The method used to create one of these shaded sphere texture maps is very important in achieving the desired results. This section will guide you in developing a shaded sphere and using it with the Art Shader to illuminate the landscape in the Rhino scene.

Create a new scene and add a sphere primitive. This sphere will serve as the basis for your shading model.

You need to now create the illumination for the shader. Add a light to the scene, then change the light Type to Spot (Round) and increase the Brightness to 120%. You will also need to activate the Details tab and change the Outer Angle to 60 degrees.

Position this light with the following coordinates: X = 155, Y = 462, Z = -285, H = 30, and P = -55. This will illuminate the sphere from the upper left-hand section of the image that you will be creating.

Create a new scene

Create a Sphere primitive

Create a light:Type: Spot (Round)Brightness: 120%Details Tab - Outer Angle: 60 degrees

Position light:X = 155Y = 462Z = -285H = 30P = -55B = 0

32 • TUTORIAL •

You will want to add a material to the sphere with a hotter specular, so create a new material. Double click on the material to access all of its parameters in the Material Editor.

Select the Specular channel and change the Height to 50%. That is the only change you need to make to the material. Drag and drop the material onto the Sphere object in the Object Manager.

Create a Camera for the scene. Position the camera with the following coordinates: X equals 148, Y equals 76, Z equals -148, H equals 45, and P equals -20. After you setup the Render Settings for this scene the sphere will fi ll up the entire portion of the rendered image.

Open the Render Settings. In the Output section change the Resolution to 200 x 200. The resolution of the image is not important, only the placement of the sphere and the shading within the sphere is important.

Switch to the Save parameters and change the Format to JPEG. Choose a valid render path and save the image as “Art Sphere”.

Make sure you are looking through the camera that was created earlier. Choose Camera from the Scene Cameras submenu of the Viewport’s Cameras menu.

Now render the image.

You can then load the rendered image into BodyPaint 3D or Adobe Photoshop to add fi lters and further stylize the shading. This image was modifi ed in Photoshop using the Liquefy fi lter to create the basic shading sphere that will be used in the Rhino scene.

Create a Camera

Position Camera:X = 148Y = 76Z = -148H = 45P = -20B = 0

Create a new material

Material - Specular Channel:Height: 50%

Apply Material to Sphere object

Render Settings - Output Tab:Resolution: 200 x 200

Render Settings - Save Tab:Format: JPEGPath: <your path>/Art Sphere.jpg

View Panel: Cameras > Scene Cameras >Camera

Render to Picture Viewer

Stylize sphere

• TUTORIAL • 33

Open the the Rhino_Art.c4d from the CD.

To keep the scene organized, you’ll create a material group for the Art Shader just like you did for the Cel Shaders. From the Materials Manager create a new material group and rename this material group ‘Art Shader’.

Within the Art Shader material group, create a new material and rename this material ‘Landscapes’. Double click on the newly created material to access all of its parameters in the Material Editor.

Enable only the Luminance channel. Apply the Art Shader to the Luminance channel by clicking on the right triangle next to the texture fi eld and selecting the Art Shader from the drop-down menu.

Click on the Art Shader text to access all of the properties of the shader. Apply a Colorizer shader by clicking on the right triangle next to the texture fi eld and selecting the Colorizer from the drop-down menu. The Colorizer will be used to add the desired brown coloring to the default grayscale shading sphere you created earlier.

Click the Colorizer text to access its properties and add the Art Sphere into the texture path. Click the browse button to the far right of the Texture fi eld and select the Art Sphere.jpg from the CD.

Now you can use the gradient to apply coloring to the grayscale sphere. Double click on the second knot of the gradient to chose a different color, enter the following settings: Red equals 184, Green equals 128, and Blue equals 71.

Double click on the third knot and enter the following settings: Red equals 220, Green equals 193, and Blue equals 167. Position the knots as follows: First knot at 14%, Second knot at 79%, and the Third knot at 100%.

Open project fi le:\\Tutorial Scenes\3-3 Rhino Art\ Rhino_Art_Start.c4d

Create a new material group:Art Shader

Create a new material:Landscapes

Landscapes:Enable only Luminance channelLuminance - Texture fi eld:

Art Shader

Landscapes - Art Shader:Texture: Colorizer

Landscapes - Colorizer Shader:Texture: Art Sphere.jpg

Landscapes - Colorizer Shader:Gradient - Knot 1Red = 0Green = 0Blue = 0Pos = 14%

Landscapes - Colorizer Shader:Gradient - Knot 2 ]Red = 184Green = 128Blue = 71Pos = 79%

Landscapes - Colorizer Shader:Gradient - Knot 3Red = 220Green = 193Blue = 167Pos = 100%

34 • TUTORIAL •

The Art Shader now has illumination and shading information from the Art Sphere image, coupled with color information from the colorizer shader. The illumination for this shader will be calculated from the top of the screen, but that will produce a fl at look for the landscapes. You could recreate the Art Sphere with different illumination, but to save time you can also rotate the shading sphere within the Art Shader. Navigate back to the Art Shader by hitting the back arrow in the Material Editor.

Enter a rotation value of 45 degrees in the Art Shader to rotate the image counter-clockwise. Now the illumination will be calculated from the left-front area of the scene, which will give more depth to the landscapes.

Now that the Art Shader for the Rhino scene is set up, you can apply it to the Landscapes in the scene. Apply the Landscapes material to the Left and Right Landscape by dragging and dropping the material onto the object in the Object Manager.

Finally adjust your Render Settings and render a frame to view the fi nal result of your efforts.

Landscapes - Art Shader:Rotation: 45 degrees

Apply Landscapes material to L Landscape

Apply Landscapes material to R Landscape

Render your project

• TUTORIAL • 35

4 Fruit Bowl Sketch - Hatch ShaderIn this tutorial, you’ll learn the following skills:• Defi ning Hatch Shader stroke• Setting up the Hatch shader

Now that you’ve learned to create the toon look, it’s time to discover the techniques used to give your 3D scenes a hand-drawn sketch look. This tutorial will use Sketch & Toon’s Hatch shader to create this fruit bowl sketch.

Open the Fruit_Bowl_Start.c4d scene fi le from the CD.

You’ll begin by using Sketch and Toon’s Hatch shader to create the materials for this scene. You can use Material Groups to easily organize and keep track of all your materials. Create a new Material Group from the Material Manager and name the group ‘Fruit’.

With the Fruit group selected, create a new material. The new material will be placed automatically into the group you had selected. Rename this material “Apple”.

Double-click on the material to open it in the Material Editor. Uncheck the Color and Specular checkboxes that are enabled by default and enable only the Luminance channel.

Select the Luminance channel to display its settings. Add the Hatch Shader to the channel by clicking on the right triangle next to the texture fi eld and selecting Hatch from the Sketch submenu.

Select the Hatch Shader text that is now displayed in the texture fi eld to open its settings.

Open project fi le:\\Tutorial Scenes\4-1 Fruit Hatching\

Fruit_Bowl_Start.c4d

Create a new material group:Fruit

Create a new material:Apple

Apple Material:Enable only Luminance channel

Apple - Luminance channel:Texture: Hatch Shader

36 • TUTORIAL •

The Hatch Shader works by duplicating an image or texture over the objects to which the material is applied. In this tutorial a single brush stroke image will be used. You can use a single stroke, multiple strokes, or any other black and white image you prefer. When creating images for use with the Hatch shader, make sure you crop out any excess areas that are not part of the actual stroke. This will generate strokes that are closer together.

Next, enable the Tile UV option in the Hatch Shader. This option eliminates visible edges that may appear when setting tiling in the Texture tag. Because you’ll tile the hatches onto each object, you’ll want to make sure to eliminate the lines between each tile.

Try to maintain Scale values of 100% or greater whenever possible. The Scale values in the Hatch Shader cause more strokes to be added to the calculation, which will increase render times. In most situations you can achieve the same result by tiling the material in the object’s Texture tag and leaving the scale set to 100%.

Now, change the Density values, which control the number of strokes that are generated. For this material we are going to change the Density to 100% for a more compact hatching effect.

Finally, activate the Crosses option and change the cross rotation to 45 degrees. This will create cross hatching strokes at a 45 degree angle to the main horizontal strokes.

Next, switch to the Color Tab within the Hatch Shader. The color tab allows you to defi ne the Dark and Light strokes as well as the Background color used by the shader. To give the appearance of a red apple, all of these colors will be a variation of red for this material. Change the values for the Dark Strokes to Red equals 175 Green equals 50 Blue equals 50. Change Light Strokes to Red equals 220 Green equals 150 Blue equals 150, and Background to Red equals 250 Green equals 235 Blue equals 235.

Apple - Hatch ShaderTexture: Tutorial Scenes\ 4-1 Fruit Hatching\PencilMark_2.tif

Apple - Hatch ShaderEnable Tile UV

Apple - Hatch ShaderDensity: 100%

Apple - Hatch ShaderEnable Crosses

Cross Rotation: 45 degrees

Apple - Hatch ShaderColor Tab - Dark StrokesRed = 175Green = 50Blue = 50

Color Tab - Light StrokesRed = 220Green = 150Blue = 150

Color Tab - BackgroundRed = 250Green = 235Blue = 235

• TUTORIAL • 37

Switch to the Illumination Tab. By default only the Dark strokes are active. Activate the “Show Light Strokes” option.

The next option for Shade Levels controls how many stroke passes are rendered. More passes will create a more gradual transition between color variations. Increase this value to 2 in order to get a smoother color transition in this material.

The rest of the settings in this tab defi ne what scene elements will effect the shader’s illumination. To base the illumination on the lighting in the scene, enable only Lights and Shadow. You will notice that as you activate each of these elements a gradient become active. This gradient can be adjusted to control where the falloff of that illumination type in the shading.

Now, apply the fi nished Apple material to the “Apple 1”, “Apple 2”, and “Apple 3” Objects in the Objects Manager.

Select the Texture Tag for all three objects and in the Attributes Manager change the Tiles X and Tiles Y to 2. This will scale down the strokes a bit.

Switch to Wireframe mode to make it easier to distinguish objects in the scene.

The materials used for the other fruit objects are very similar to the Apple. Begin these by creating three copies of the Apple material. Rename the materials Grape, Banana, and Orange.

Apple - Hatch ShaderIllumination Tab:

Enable Show Light Strokes


Shade Levels: 2


Enable Lights Enable Shadows

Apply Apple material to Apple 1, Apple 2, and Apple 3

Apple 1, 2, 3 - Texture Tag Attributes:Tiles X: 2Tiles Y: 2

Copy Apple material (x3):BananaGrapeOrange

38 • TUTORIAL •

Double click on the Grape Material to edit its settings. Select the Hatch properties and activate the Color Tab. You’ll need to change the stroke colors for this shader to varying shades of green to match the look of a green grape. Change the Dark strokes to Red equals 125 Green equals 190 Blue equals 65, the Light Strokes to Red equals 200 Green equals 235 Blue equals 145, and the Background to Red equals 255 Green equals 255 Blue equals 255.

Apply this material only to the grapes themselves and not the stems. Expand the Grape Bunch object hierarchy located within the Fruit Null. Apply the Grape Material to the Grapes Null. The default Texture tag settings are fi ne.

Next you will edit the Orange Material. Double click on the Orange Material to open its settings.

Select the Hatch properties and activate the Color Tab. Again, you’ll change the stroke color to match the color of the fruit to which the material will be applied. Change the Dark strokes to Red equals 240 Green equals 160 Blue equals 15, the Light Strokes to Red equals 240 Green equals 205 Blue equals 150, and the Background to Red equals 255 Green equals 245 Blue equals 220.

Apply this material to the Orange Null in the Objects Manager. In the Attributes Manager, set the Tiles X and Tiles Y of the Texture tag to 2.

Next you will change the Banana Material. Double click on the Banana Material to open its settings. Select the Hatch properties and activate the Color Tab.

Use variations of yellow to shade the banana. Change the Dark strokes to Red equals 230 Green equals 225 Blue equals 115, the Light Strokes to Red equals 225 Green equals 225 Blue equals 185, and the Background to Red equals 255 Green equals 255 Blue equals 240.

Grape - Hatch ShaderColor Tab - Dark StrokesRed = 125Green = 190Blue = 65



Orange- Hatch ShaderColor Tab - Dark StrokesRed = 240Green = 160Blue = 15



Apply Grape material to Grapes Null

Apply Orange material to Orange Null

Orange Null Texture Tag Attributes:Tiles X: 2Tiles Y: 2

Banana - Hatch ShaderColor Tab - Dark StrokesRed = 240Green = 160Blue = 15



• TUTORIAL • 39

Apply this material to the Banana Null in the Objects Manager. In the Attributes Manager, set the Tiles X and Tiles Y of the Texture tag to 2.

Now you will create and add the Bowl and Ground materials to the scene. Switch to the “Other” Group in the Materials Manger and add a new material. Rename this material “Ground”.

Double-click on the material to edit its settings. In the Material Editor, uncheck the Color and Specular checkboxes that are enabled by default and enable the Luminance channel.

Select the Luminance channel to display its settings. Add the Hatch Shader to the channel by clicking on the triangle menu next to the texture fi eld and selecting Hatch from the Sketch submenu.

Select the Hatch Shader text that is now displayed in the texture fi eld to open its settings. Again load the “PencilMark_2.tif” from the CD into the Texture area. You can browse to the fi le manually or click the triangle menu next to the texture fi eld choose it from the Bitmaps submenu.

Activate the Tile UV option, change the Density to 100% and activate the Crosses. Enter 45 degrees in the cross rotation fi eld.

Switch to the Color Tab and change the Dark strokes to Red equals 80 Green equals 80 Blue equals 80 Light Strokes to Red equals 180 Green equals 180 Blue equals 180, and Background Red equals 240 Green equals 240 Blue equals 240.

Switch to the Illumination Tab and activate the Show Light Strokes option. Also, activate illumination based on Lights and Shadows. Be sure that the Camera option is deactivated.

This material will be applied to a larger area than the fruit materials and will require more tones to transition between colors, so increase Shade Levels to 4.

Apply Banana material to Banana Null

Banana Null Texture Tag Attributes:Tiles X: 2Tiles Y: 2

Create a new material:Ground

Ground Material:Enable only luminance channel

Ground Material - Luminance channel:Texture: Hatch Shader

Ground Material - Hatch Shader:Texture: PencilMark_2.tif

Ground Material - Hatch Shader:Enable Tile UVEnable CrossesCross Rotation: 45 degrees

Ground - Hatch ShaderColor Tab - Dark StrokesRed = 80Green = 80Blue = 80



Ground Material - Hatch Shader:Illumination Tab:Enable Show Light StrokesShade Levels: 4Enable LightsEnable ShadowsDisable Camera

40 • TUTORIAL •

Apply this material to the “Ground_Plane” Object in the Objects Manager. In the Attributes Manager, set the Texture tag’s Tiles X and Tiles Y values to 3.

The fi nal material will be used for the bowl, apple stems and the grape branches. This material will be very similar to the Ground so begin with a copy of the Ground material. Rename this material “Wood” and double click on it to open the Material Editor.

Select the Hatch shader and switch to the Color Tab. Change the Dark strokes to Red equals 70 Green equals 40 Blue equals 20 Light Strokes to Red equals 160 Green equals 150 Blue equals 145, and Background to Red equals 215 Green equals 210 Blue equals 205. All of the other settings should remain the same.

Drag and Drop the Wood Material from the Materials Manager onto the Bowl Object in the Objects Manager. Select the texture tag and in the Attributes Manager change the Tiles X and Y to 7 so the strokes will appear smaller on the object.

Next you’ll apply the Wood Material to the Stems of the Apples and the Grapes Branch. Expand the Fruit Null and Grape Bunch hierarchies and locate the “Branches” object. Drag and drop the Wood Material onto this object.

Now apply the material to the Apple Stems. Expand the hierarchy of each of the Apple objects to reveal the stem object. Apply the Wood Material to each stem.

Finally, adjust your render settings and render the fi nal sketch to the picture viewer.

Wood - Hatch ShaderColor Tab - Dark StrokesRed = 70Green = 40Blue = 20



Apply Ground material to Ground_Plane

Ground_Plane Texture Tag Attributes:Tiles X: 3Tiles Y: 3

Copy Ground material:Wood

Apply Wood material to Bowl

Ground_Plane Texture Tag Attributes:Tiles X: 7Tiles Y: 7

Apply Wood material to Grape Branches

Apply Wood material to Apple Stems

Render your project

• TUTORIAL • 41

42 • TUTORIAL

sketch tutorial us

Documents