Also, this is where you access the Modeling Toolkit suite of polygon tools. To create a new pivot point by making a new parent node, follow these steps: 1. This is where the Hypershade lists all the materials in the scene. The bouncing-ball tutorial in Chapter 8 illustrates ease-in and ease-out. Remember me on this computer.
 
 

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You will access this bevel node to adjust the bevel settings on the cube. Figure Select the top four edges. Toggle on the Attribute Editor and select the new polyBevel1 tab.

Using the front view panel, set Fraction so that it lines up with the rounded top of the box, at about 0. Set Segments to In the side view panel, move the bottom-corner vertices on the cube to line up the bottom corners of the box to the reference image. In the front view panel, move the bottom-corner vertices to match the bottom of the box in the image see Figure Save your work. Click anywhere in the persp view panel to make it the active panel.

In the Status line the group of icons at the top of the screen , click the Render The Current Frame icon, as shown in Figure When you rendered your work in step 12, the Render View opened to show you a gray shaded box with the reference planes barely showing, as you can see in Figure Figure Taper the bottom of the cube. Figure Render a frame of the box from the Status line. Figure The model thus far is rendered.

Status Line Explained The Status line see Figure contains a number of important and often used icons. Figure The Status line The Status line begins with a drop-down menu that gives you access to the menu sets in Maya. Clicking a break opens or closes sections of the Status line. Some of the most often used icons are identified here. Snapping Functions, or Snaps The icons with the magnets are called snaps. You can snap to other objects, to CVs or vertices , and to grid intersections and other locations by toggling these icons.

Table shows the various snaps. Clicking the first icon shows or toggles the Modeling Toolkit. Snap To This icon lets you snap objects along a curve. Curves Snap to This icon lets you snap to the center of a selected object.

Projected Center Snap To This icon lets you snap objects to view planes. It lets you create objects such as Object Live curves directly on a surface. You will use the Shelf in the UI to access some of the commands for the next series of steps as you continue working on the box.

The Shelf runs directly under the Status line and contains an assortment of tools and commands in separate tabs, as shown in Figure Figure The Shelf You can load the scene file boxModel In the following steps, you have to add surface detail to the model so you can more adequately adjust its shape: 1. Orient the persp view panel so you can see the bottom of the box and then select the box model. In the Shelf, click the Polygons tab. Double-click the Multi-Cut tool as shown in Figure Your cursor will change to a knife icon it may also give you a cross shape.

The readout should show 75 percent or so. Figure Create a new edge line along the bottom of the box. Click and drag a second point on the opposite edge on the bottom of the box at about 75 percent again to create a new edge line, as shown in Figure Click the RMB to commit the new edge line.

This creates surface detail along the bottom of the box for you to model the feet for the box. This methodology is explained in detail in Chapter 4. Using the same procedures in steps 1 through 3, create three more edge lines for a total of four separate cuts in the bottom face of the cube that line up with the legs of the box, as shown in Figure The preceding three steps have created a surface detail called faces that allow you to create the feet for the box.

Your cursor returns to the regular Maya cursor. Figure The Select tool in the Tool Box 6. As you hover your mouse over the parts of the box, the new faces in the four corners of the box you just created will highlight in red. Figure Select Face from the marking menu. Figure Select the four corner faces. With the four faces selected, go into the Shelf and select the Extrude icon shown in Figure Figure The Extrude icon in the Shelf 8.

Your manipulator will change, as shown in Figure By moving vertices, taper the feet to match the reference images in the front and side view panels; see Figure Figure Extrude the feet. Figure Move the vertices on the feet to line them up to the reference images.

The Shelf The Shelf, shown earlier in Figure , is an area where you keep icons for tools. Table lists the icons and their functions. In addition to the common commands, the Tool Box displays several choices for screen layouts that let you change the interface with a single click. Experiment with the layouts by clicking any of the six presets in the Tool Box. In the following steps, you will add more faces and edges to the model surface a. The middle of the box has a bit of a curve; you will need to create a new edge line that runs across the middle of the box so you can bow out the sides in the middle.

In the Layer Editor, toggle off visibility for the reference images by clicking the icon for reference planes. Now you can see just the model of the box.

Figure Insert the first point of a Multi-Cut at about 50 percent along this first edge. Place a new split point in the middle of the next edge of the box working from left to right , creating an edge line along one side of the box.

Continue to place two more split points in the middle of each remaining edge to create a horizontal cut line in the middle of the box, as shown in Figure Your last point will display the word close next to your cursor. Press Enter, and you now have a horizontal split along the middle of the box. Figure Create a horizontal edge line all the way around the box. Turn on the referencePlanes layer to show the image references. Move the new vertices in the middle of the box to bow out the box slightly.

Move the rest of the vertices to match the model to the box images in the side and front view panels see Figure Figure Adjust the cube to fit the reference images.

The Time slider displays the range of frames available in your animation and gives you a gray bar, known as the Current Time indicator. You can click it and then drag it back and forth in a scrubbing motion to move through time in your sequence. When instructed in this book to scrub to a certain point in your animation, use this indicator to do so.

Figure The Time and Range sliders The text box to the right of the Time slider gives you your current frame, but you can also use the text box to enter the frame you want to access.

Below the Time slider is the Range slider, which you use to adjust the range of animation playback for your Time slider. The text boxes on either side of this slider give you readouts for the start and end frames of the scene and of the range selected.

You can adjust any of these settings by typing in these text boxes or by lengthening or shortening the slider with the handles on either end of the bar. Adjusting the Range Slider lets you zoom into sections of the timeline, which makes adjusting keyframes and timing much easier, especially in long animations. Use the Command line see Figure to enter single MEL commands directly from the keyboard in the white text box portion of the bar.

This bar provides a quick reference for almost everything on the screen. Finishing the Decorative Box Model Now that you have the overall shape of the box finished, you need to add a few finishing details to the box. To make a model more dynamic, you can round or bevel the edges to heighten the realism of the model when it is lit and rendered. You are already somewhat familiar with the Outliner from the solar system exercise in the previous chapter. This way, you can individually hide any object in your scene.

Notice that when an object is hidden, its Outliner entry is grayed out Figure Figure Hiding objects using the Outliner 2. Select the box and open the Attribute Editor. This will help you see how the bevel works. Figure Select all of these edges for beveling. Set everything to the defaults, but change Segments from 1 to 3. Click Bevel, and your box should resemble the one shown in Figure Figure The beveled edges of the box 5.

This process essentially cleans up the model and the procedures it has undergone. You have one final detail to tend to on the lid. Select the box. This tool is like the Multi-Cut tool in that it inserts new edges into a model.

Your cursor will change to the solid triangle. Figure Insert an edge loop to line up with the seam in the real box. In the side view panel, insert four more horizontal edge loops for a total of five edge loops, as shown in Figure Figure Insert these five edge loops for the lid of the box. In the side view panel, select the appropriate vertices see Figure and move them to create the wedge-shaped indentation as shown.

Select the middle edge loop you created earlier for the indent where the lid meets the box, as shown in Figure Press R to scale the edge loop slightly inward, as shown. Hide the reference planes again through the Layer Editor and turn Shading back on for the cube in the Attribute Editor. Figure left shows the completed box. Notice the dark area where the lid meets the box, where you just created the slightly indented seam line. This is because of Normals.

Doing so fixes the darkening, as shown in Figure 3- 78 right. Save your work, grab someone you love, and give them a hug. Figure Move the vertices to create the hinge area in the back of the box. Figure Select this edge loop and scale it to create an indent line where the lid meets the box. Figure The completed box needs one more adjustment left.

The box now looks better after adjusting Normals right. You can load boxModel By manually setting a Normal angle for the box as you did in step 13 of the exercise, you override the display anomaly. The Attribute Editor window is arguably the most important window in Maya.

Some attributes listed in the Attribute Editor are also shown in the Channel Box. These attributes, despite being shown in two places, are the same. You learned a little about the Maya object structure in the previous chapter. This is handy because you can put reminders here of important events, such as how you set up an object or even a birthday or an anniversary. If you drag the horizontal bar, you can adjust the size of the notes space, as shown in Figure It displays all the objects in your scene as an outline.

You can select any object in a scene by clicking its name. This is a fantastic way to keep your scene organized. Additionally, you can easily rename an object by double-clicking its Outliner entry and typing a new name. A separator bar in the Outliner lets you split the display into two separate outline views. By clicking and dragging this bar up or down, you can see either end of a long list, with both ends having independent scrolling control.

In addition, the Modeling Toolkit, when activated, allows for faster and easier component selection and editing. All of the Modeling Toolkit tools work slightly differently than the standard Maya tools of the same name; however, the results of the executed tool are identical.

This tool set is explored in depth and put to good use in Chapter 4. Summary In this chapter, you learned more about the user interface and the primary windows used in Maya as you worked on modeling the decorative box. The user interface combines mouse and keyboard input as well as plenty of menu and tool icons that you can select and use to accomplish your tasks. Do you have it all memorized? You can always come back to this chapter to refresh your memory.

Remember, you should learn the Maya program using its default settings. When in doubt, remember to access the Maya Help system F1 keyboard shortcut or the Help menu in the main menu bar.

Chapter 4 Beginning Polygonal Modeling Simple objects call for simple models, and complicated objects call for a complex arrangement of simple models. Like a sculptor, you must analyze the object and deconstruct its design to learn how to create it. To help you decide where to begin, this chapter starts with an overview of modeling, briefly describing the two popular methods and how they differ.

The second part of the chapter takes a detailed look at modeling with polygons. The next two chapters cover the process of modeling with polygons and NURBS surfaces and how to bring them together in one model. First, you should take reference pictures from many angles, get dimensions, and even write down a description of the object. You must also decide the purpose for your model and determine the level of detail at which it will be seen in your CG scene.

Consider the two scenes in Figure If you need to create a park bench for a far shot left , it will be a waste of time and effort to model all the details such as the grooves in the armrest. Figure The level of detail you need to include in a model depends on how it will be seen in the animation. You can more easily pare down detail than create it later. This method is typically preferred by most digital artists in the field. An Overview of Polygons Polygons consist of faces. A single polygon face is a flat surface made when three or more points called vertices are connected.

The position of each vertex defines the shape and size of the face, usually a triangle. The line that connects one vertex to another is called an edge. Some polygonal faces have four vertices instead of three, creating a square face called a quad. Polygonal faces are attached along their polygonal edges to make up a more complex surface that constitutes your model as shown with the polygonal sphere in Figure A camping tent is a perfect example.

Figure A polygonal sphere and its components Polygon models are the simplest for a computer to render. Gaming artists create models with a small number of polygons, called low- count poly models, which a PC or game console can render in real time. Higher-resolution polygon models are frequently used in television and film work. Using Primitives Primitives are the simplest objects you can generate in Maya or in any 3D application.

To get a better sense of how to begin a modeling assignment, you may find it helpful to analyze your modeling subjects into forms and shapes that fit in with Maya primitives. You can, therefore, deform polygon models without fear of patches coming apart, as can happen with NURBS. Polygons, however, have a finite detail limitation and can look jagged up close or when scaled up.

One solution to this problem in the Maya software is the Smooth tool, which smoothes your mesh into a more organic shape by increasing its polygon count and rounding off areas. A popular method of polygonal modeling called box modeling involves creating a base object a.

A third method is to create poly surfaces directly with the Polygon tool, which allows you to outline the shape of each face, which is less often used. Creating Polygonal Primitives With a poly mesh, detail is defined by subdivisions, which are the number of rows and columns of poly faces that run up, down, and across.

The more subdivisions you have, the greater definition and detail you can create with the mesh. Opening the option box for any of them gives you access to their creation options. To get started, first make sure History is turned on in the status bar along the top of the UI or there will be no creation node; then, click Create to make the poly sphere.

Open the Attribute Editor and switch to its creation node, called polySphere1. When you select this tool, you can draw a polygon face in any shape by clicking to place each point or vertex.

Figure shows some simple and complex single faces you can create with the Polygon tool. For complex shapes, you may want to create more than just the single face so that you can manipulate the shape.

For example, you may want to fold it. Try This The poly shown in Figure was created with the Polygon tool and has only one face. Therefore, adjusting or deforming the surface is impossible. To fold this object, you need more faces and the edges between them. Make your own intricate poly shape with the Polygon tool by clicking vertices down in the different views to get vertices in all three axes. The custom shape now has more faces and edges and is easier to edit but was still simple to create.

If you need a uniquely shaped poly, start with this tool and then triangulate your surface into several faces, as shown in Figure Faces that have too many edges a.

Ngons may cause you trouble later in the workflow, particularly in further manipulation of the mesh containing any Ngons and also when rendering. It’s recommended to always work with polygons with three tri or four quad sides, with quads being preferred.

Open the Edit Mesh menu, tear it off, and place it somewhere on your screen so you can get a good look at the tools and functions, which are separated into sections according to function type. For tools repeated like this, I will call out the section name in the text to help.

Modeling Toolkit Modeling Toolkit integrates component-level selection and editing tools such as selecting vertices, edges, and faces, and extruding them, for example for a more streamlined modeling workflow. Modeling Toolkit can make tedious modeling chores much easier, especially for advanced modeling techniques. The Poly Extrusion Tools The most commonly used poly editing tools have to do with extrusion.

You can use Extrude to pull out a face, edge, or vertex of a polygon surface to create additions to that surface. The regular manipulator changes to a special manipulator, as shown in the left image in Figure Figure Extruding several faces at once on a sphere.

The left image shows the selected faces, the middle image shows those faces extruded, and the right image shows those faces extruded with a rotation and smaller scale. Grab the Z-axis move handle the blue arrow and drag it away from the sphere, as shown in the center of Figure Use the scale handles the boxes to scale the faces of the extrusion.

The cyan circle rotates the face. The image at the right in Figure shows the faces extruded, rotated, and scaled. Choose the Extrude command again without deselecting the faces, and you extrude even more, keeping the original extrusion shape and building on top of that. The special manipulator works the same way as Extrude does for poly faces.

The faces you select will pull out from the sphere, and new faces are created on the sides of the extrusion s. The Extrude tool is an exceptionally powerful tool in that it allows you to easily create additions to any poly surface in any direction.

You can also use the direction and shape of a curve to extrude faces. Taper decreases or increases the size of the face as it extrudes. Twist rotates the face as it extrudes, and Divisions increases the smoothness of the resulting extrusion.

Choose Selected for the Curve setting. Figure Extruding a face along a path curve Although it seems to be strange behavior, the Twist and Taper values are taken into account in the extrusion.

You can edit these values when you uncheck Selected, or you can reselect this option after you enter values for Twist and Taper. Modeling Toolkit and Extrusions Modeling Toolkit makes selecting and editing polygonal components more streamlined, accelerating some workflows by incorporating tools into one place for ease of access as well as by reducing how often you have to exit one tool or mode and enter another one. About halfway down the list, you should see ModelingToolkit.

Modeling Toolkit also places an icon on your status bar, next to the XYZ input fields, shown next to the cursor and already turned on in Figure When the Modeling Toolkit icon is turned on, Modeling Toolkit is automatically invoked whenever you enter component selection mode.

You will notice toward the top of the Modeling Toolkit panel four icons for selecting, moving, rotating, and scaling. These operate in the same way as transformation tools; however, they enable the Modeling Toolkit functionality. Create a polygon sphere and press 5 for Shaded mode. Right-click the sphere in your scene and select Face from the marking menu for face selection mode.

This is the easiest way to select components in Maya, which also works the same while using Modeling Toolkit. Figure The Modeling Toolkit panel 4. Hold down Shift to select two faces side-by-side on the sphere. A floating options panel appears next to the selected faces. In the floating panel, your cursor will change to a double-headed horizontal arrow as you hover over each of the attributes such as Offset or Divisions. Hover over Thickness and click and drag left or right to set the amount of extrusion Figure You can also enter numbers directly.

In the floating panel, click in the Divisions text box and set the number to 3. This will give you multiple sections along your extrusion.

You can also click and drag in the floating panel to set the Divisions number interactively as you did with Thickness. Click and drag on Offset in the floating panel to make the extruded faces bigger or smaller. You may also enter a value for Offset in the floating panel, since clicking and dragging is pretty sensitive. Figure shows an extrusion of 0. Finally, click the Keep Faces Together text box to toggle the option on and off in the floating panel to see how the extrusion changes.

Figure shows the same extrusion as Figure , but with Keep Faces Together turned off. Whatever options you set will be used the next time you extrude in Modeling Toolkit.

Simply turn off the Extrude button to exit the tool and commit the changes. Figure Click Extrude in the Modeling Toolkit panel.

Figure Click and drag the Thickness value to set the extrusion amount. All of these extrusion options and settings are available in the Maya Extrude tool but are a little more streamlined in the Modeling Toolkit workflow. Experiment to see how you like to work.

You will be using a combination of traditional Maya and Modeling Toolkit workflows throughout the chapter and other parts of the book. For this tool, you need to select a face and an edge of the selected face for a pivot axis of the corner.

A floating panel appears, and you can select the degree of turn in the Wedge Angle setting 90 degrees is the default as well as the number of faces used to create the wedge by changing the Divisions value , as shown in Figure 4- The Wedge tool is useful for items such as elbows, knees, archways, and so on. The Poke Tool Poke is great for creating detailed sections of a mesh poly surface and bumps or indentations.

A vertex is added to the middle of the face, and the Move manipulator appears on the screen for that new vertex, as shown in Figure This lets you move the point to where you need it on the face.

You can add bumps and depressions to your surface as well as create regions of extra detail. Figure Poke helps create areas of detail in your model. The Bevel Tool Use the Bevel tool to round sharp corners and edges and to help catch light and generally make a model’s edges look more polished.

With the Bevel tool you must select an edge or multiple edges and then use them to create multiple new faces to round that edge or corner. The Fraction value in the floating panel sets the distance from the edge to the center of where the new face will be. This basically determines the size of the beveled corner.

Leaving Segments at 1 creates a sharp corner. Start modeling right away with this hands-on guide to learning Autodesk Maya Introducing Autodesk Maya …. Produce mind-blowing visual effects with Autodesk Maya. Gain the practical skills and knowledge you need to ….

Skip to main content. Skip to main content. Start your free trial. Book description Go from ‘beginner’ to ‘expert’ with this professional, tutorial-based guide to Maya Mastering Autodesk Maya is your professional hands-on coverage to getting the most out of Maya.

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Building from the ground up, this book combines straightforward text with practical examples that make it easy to absorb the basics and start designing and animating your own digital models and scenes. The tutorials offer realistic challenges and clear explanations, laid out in fun, step-by-step lessons that help you gain confidence and learn by doing. You’ll delve into CG and 3D core concepts and production workflows, then get right to work designing an animation of the solar system as you learn the interface and basic tools.

As your modeling skills grow, you’ll build a steam locomotive, a starfish, a table lamp, and much more as you learn to rig your model for animation, create fabric motion with nCloth, and add the lighting and effects that bring your scenes to life. The companion website features downloadable project files that help you see how the pros do it, and the book includes real-world examples from talented users who were beginners just like you.

Master the Maya interface, menus, and plug-ins Begin building simple animations right away Explore modeling, rendering, animation, and cloth motion Add lighting, rendering, dynamics, simulations, and effects If you want to work like the pros, Introducing Autodesk Maya is the perfect primer for getting started. Go from ‘beginner’ to ‘expert’ with this professional, tutorial-based guide to Maya Mastering Autodesk Maya is your professional hands-on coverage to getting the most out of Maya. If you already know the basics of Maya, this book is your ticket to full coverage of all Maya ‘s latest features, and showcases the tools and methods used in real-world 3D animation and visual effects.

From modeling, texturing, animation, and effects to high-level techniques for film, television, games, and more, this book expands your skill set, and helps you prepare for the Autodesk Maya certification exam. Filled with challenging tutorials and real-world scenarios this book provides valuable insight into the entire CG production timeline. Take your Maya skills to the next level with step-by-step instruction and insight from the industry professionals.

Learn professional techniques used in real-world visual effects Master Dynamics, Maya Muscle, Stereo Cameras, mental ray, and more Expand your skills with advanced techniques for cloth, fur, and fluids Understand everything you need to know for the Maya certification exam. Written by renowned author and 3D artist Kelly L.

Murdock Autodesk Maya Basics Guide is designed to give new users a solid understanding of the fundamental skills needed to create beautiful 3D models and stunning animations with Autodesk Maya. Introducing Autodesk Maya includes straightforward lessons, real-world examples, detailedtutorials, and downloadable project files that get you modeling and animating your own digital models and scenes rightaway.

The book starts you with the latest CG concepts and production workflows, and then shows you how to create a solarsystem to help get you acquainted with the basic tool set in Maya. From there, the books helps you:Learn the Maya userinterface, including menus and plug-insBuild simple animations and 3D images right awayExplore polygons, modeling, and NEXtoolsGet started with HDRI lighting, rendering, dynamics, simulations, and effectsWhether you’re new to 3D or migrating from.

Professional visual effects artist and Maya expert Dariush Derakhshani clearly explains the basics of modeling, texturing, animating and visual effects for new users, while leading you through fun and challenging lessons that give you plenty of hands-on. Introducing Autodesk Maya is the official guide to the most popular and complex 3D application on the market.

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