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rasputin

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Everything posted by rasputin

  1. I use Illustrator CC 2017... and have it tricked out with all my favorite plugins, which allow me to tweak shapes with more precision; I also, for whatever reason, like to envision my splines in a flat 2D atmosphere before sending them to C4D.
  2. I was totally unaware of Cineversity ArtSmart 'til now. I am going to give it a try.
  3. Hey guys, Have any of you encountered this? If you choose to draw a vector shape in Adobe Illustrator for later merging into C4D as a spline, you have to Save your Illustrator project in Illustrator 8 edition format. Otherwise, your spline, merged in, simply will not appear in C4D at all. Thus, any shape saved in Illustrator CC format (or anything after 8, in fact ) will not be recognized by C4D. Illustrator 8 was a long, long time ago by now, no? I'm just curious as to why this anomaly should be so. Any theories? Thanks, ras
  4. Yes. Attached here is a picture of what the splines look like, prior to extrusion. Also attached here is my C4D project file. I had merged flat the whole thing first in Adobe Illustrator. happy birthday extrusion.c4d
  5. Hey guys, I'm sure you will immediately recognize this familiar problem: When you try to extrude some text (that has been converted to splines), some splines will be recognized for extrusion, while others won't. In this particular set of text splines, some of the "eyes" of the letters will not be recognized. Like the inner "eyes" of my "B", "P", "Y", "D" and "O". Needless to say, this situation makes for an unusable model. I realize that this loopy, cursive font is not the best candidate for extrusion.... blocky/squarish fonts do much better. Still, I'm wondering if I can make this work... Is there a workaround to having all my spline-loops be recognized in an Extrude? I've tried twiddling with the different spline types and their properties. Is there a way I can first optimize this spline group in Adobe Illustrator? Some other trick? Thanks, ras
  6. Yes: Volumetric sculpting like in 3DCoat. Where your sculpting does not warp and misshape your UV's.
  7. Version 1.0.0

    2 downloads

    This is an Art Deco repeatable design, recreated directly in Adobe Illustrator from an authentic French textile design of the 1920's. Included in the ZIP archive is one single seamless iteration of the pattern, in high-res PNG format, whose UV tiling repeat may be dialed large or small to get the look you desire. Suitable for interior room wallpaper, upholstery or any kind of cloth or textile, like curtains or bedspreads. Simply load this PNG bitmap into your material's Color channel. Cubic UV repeat is probably the best option.

    Free

  8. Here's one you should watch also: https://study.com/academy/lesson/what-are-the-principles-of-art-definition-examples.html
  9. It sounds like you just need to jump in to making imagery with 3D... Hopefully MAXON Cinema4D. We like to say that artistic ability is an inborn gift, but that's not altogether true: there are many, many artistic ideas that you can grasp just from reading and studying about them. So I say: go dive in to studying both art theory while you learn the technical aspects of doing 3D... They go hand-in-hand. There's that saying by L'ao-Tsu: "The journey of a thousand miles begins with a single step." I suggest that, every day, you make a 3D render, however simple and humble it may be, in which you try to learn one or more artistic principles. You are lucky in that the Internet now provides you will loads and loads of instructional material, in the form of free instructional videos. Bear in mind that learning a software as deep and complex as Cinema4D will take some time. As in: years. So the only task left is to jump into the swimming pool and get wet.
  10. Whoa-- amazing! It was only when camera dollied back that I perceived what you had achieved. Amazing and very tricky to do. Is that a phi (golden ratio) spiral?
  11. rasputin

    Isolated

    So very beautiful... and so very strange...
  12. rasputin

    Waiting for a train

    From the album: Rasputin's Gallery III

    Imported V4 character, clothing I modeled in MD, other objects I modeled and textured natively in Cinema 4D. Rendered in Corona, 150 passes. Of chief interest to me was trying to model that 1940's hairstyle. With Cerbera's help, I modeled those shoes using the Sub-D method... the first time I'd ever tried that method in all my years of doing C4D. Cerbera was right: it's a great way to model, especially organically-shaped objects like shoes.

    © © Rasputin (2020)

  13. rasputin

    Rasputin's Gallery III

    Collection of my newer images, all modeled in Cinema 4D and mostly rendered with Corona Renderer. Enjoy.
  14. Yes, but to actively work on that hair-- brush it, etc.-- don't you have to select it active?
  15. Good god. Absolutely amazing. I saw the movie three times over the Thanksgiving holiday, and not once did I twig on that there might be some digital trickery going on with their faces. The illusion was seamless. I'm guessing ILM possesses some extremely powerful computers; anything less would make this process a nightmare. Wow. And I guess ILM has enough money and power to completely commission a new dedicated proprietary software expressly for their purposes from code programmers. Somehow, at the end of the day, they had to construct a mesh for the actors' faces, that they could then play with. And that mesh is surprisingly low-poly, yet flawlessly topologized and rigged with custom morphs. Maybe the three-headed camera did a kind of photogrammetry? Even still, I'll bet they still couldn't fully automate this process; ie., they still had to do a lot of frame-by-frame editing. It also looks like they made meshes out of the surrounding walls and furniture... I guess they had to do that to keep perspective and focal length correct? Kinda wild that DeNiro still remembered his monologue from GOODFELLAS, 25 years on; do all movie actors do that? Hvala na ovom videu, Igore!
  16. Hey you Hair wizards, Is there any way to turn off the visibility of my Hair guides... while leaving visible my Preview Hair Polygons? ie., in my Viewport, not during final render. See my screencap? I want to temporarily turn off visibility of my blue guide lines, while leaving visible only the hair preview itself (shown at 25% visibility). This is because, of course, I have dialed in curly waves into my C4D Hair Material, which appear quite differently than the straight guides do. The blue guides are preventing me from seeing well the actual Hair preview. Thanks, ras
  17. ....and here's an even better starting attempt, I think you'll agree. I'm really beginning to see the beauty and logic of Sub-D modeling! If you do it right, your mesh is always pretty and logical, and has not a single polygon too many. Thank you for your help here, Cerbera!
  18. Cerbera, Is THIS the idea? I started with a cube primitive, elongated it, and applied a SUB-D SURFACE to it, shown here subdivided 2X. So it's a process of applying appropriate cuts-- avoiding triangulation-- then gradually moving your points closer to your ideal?
  19. Thanks, cerbera! Would you believe I've never modeled in the Sub-D approach before? This looks like a good time to learn it. I had been trying to do this shoe first using the Loft-ing of splines... pretty tricky. Then i got the wild idea to place a sphere primitive around my (Poser) foot mesh, then do a Cloth Sim 'til it hugs the foot tightly. Both of these methods yield a ghastly topology which is tricky to then refine using the Mesh Brush tool. I keep thinkin' there's GOT to be an easier way. I so appreciate your help here! Thanks, ras
  20. Hey guys, I'm curious: How would YOU go about modeling this shoe? My Poser figure is supposed to wear them. My results have been... barely passable, not that good at all. I've been using the Poser figure's foot mesh to serve as a possible "shoe last", ya might say... The difficulty, of course, is that the shape is VERY organic... hardly a straight line on the whole shoe. And as you can imagine, I end up with polys wildly angled everywhere, and in very diverse sizes... ie., lousy topology. Don't worry about the heel, the little bow or the decorative perforations-- I'm just concerned with modeling the basic shape of the "chassis". Is there an especially "clean", efficient or elegant way to go about modeling this shoe? Thanks, ras
  21. Thanks so much, cerbera! Your erudition and counsel here on the Cafe is a godsend. Where can I obtain a Hexasphere, just for visual comparison?
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