Mastering Autodesk Maya 2011 phần 3 docx

addIng CoMPonents | 181 38. After placing the socket, spend a few minutes editing the position of the points on the torso so the socket fits more naturally. 39. Save the scene as torso_v05.ma. To see a version of the scene to this point, open the torso_v05.ma scene from the chapter4\ scenes directory on the DVD. Crease Sets If you create a crease for a number of selected edges that you will later readjust, you can create a crease set. A crease set saves the currently selected creased edges under a descriptive name. To create a crease set, follow these steps: 1 . Select some edges that you want to crease or that already have a crease. 2 . Choose Edit Mesh  Create Sets  Create Crease Set  Options. 3 . In the options, enter a descriptive name for the set. Any time you want to select the edges again to apply a crease, follow these steps: 1 . Choose Edit Mesh  Crease Sets. 2 . Choose the name of the set from the list. The edges will then be selected, and you can apply or adjust the creasing as needed. Figure 4.28 Position the socket in the opening at the side of the torso. 182 | CHAPTER 4 Polygon ModelIng Mirror Cut The Mirror Cut tool creates symmetry in a model across a specified axis. The tool creates a cut- ting plane. Any geometry on one side of the plane is duplicated onto the other side and simulta- neously merged with the original geometry. The back side of the shoulder armor is not visible in the image (Figure 4.29), so we’re going to assume that it’s a mirror image of the geometry on the front side. You’ll model the front side first and then use Mirror Cut for the geometry across the z-axis to make the back. In this section, you’ll model the geometry for the space suit’s shoulder armor. You’ll start by modeling the armor as a flat piece and then bend it into shape later. In the options for Mirror Cut, you can raise the Tolerance, which will help prevent extra ver- tices from being created along the centerline of the model. If you raise it too high, the vertices near the center may be collapsed. You may have to experiment to find the right setting. 1. Continue with the scene from the previous section, or open the torso_v05.ma scene from the chapter4\scenes directory on the DVD. 2. Create a new display layer named TORSO. 3. Add the torso and the socket geometry to this layer, and turn off the visibility of the layer. 4. Turn off the visibility of the other layers as well so you have a clear view of the grid. 5. Create a polygon pipe by choosing Create  Polygon Primitives  Pipe. 6. In the polyPipe1 node (under the INPUTS section of the Channel Box), use the following settings: Height: 1 Subdivisions Axis: 24 Subdivisions Caps: 2 Figure 4.29 The shoulder armor is the next object to model. addIng CoMPonents | 183 7. Switch to the top view. 8. Choose the Move tool. 9. In the Options box, set Selection Style to Marquee, and turn off Camera Based Selection. This way you can select vertices on the top and bottom of the geometry from the top view. 10. Turn off Soft Select, and turn on Reflection. Make sure Reflection Axis is set to the x-axis. 11. Right-click the pipe, and choose Vertex. 12. Select the vertices on the outer edge of the pipe in the top half of the screen. 13. Use the Scale and Move tools to move them away from the pipe. 14. Scale them up so the upper edge of the pipe has a shallow arc, as shown in the top image of Figure 4.30. Figure 4.30 Select, move, and scale the vertices at one end of the pipe. 184 | CHAPTER 4 Polygon ModelIng 15. Select the vertices on the outer edge of the pipe at the bottom of the screen. 16. Use the Move tool to shape these vertices so they are slightly closer to the center. Use the bottom image in Figure 4.30 as a reference. 17. Switch to the perspective view. 18. Turn on Marquee and Camera Based Selection in the Select Tool options. 19. Select the faces at the wide end of the pipe, shown in the first image in Figure 4.31. 20. Choose Edit Mesh  Extrude to perform an extrusion on these faces. Before you move the extrusion with the manipulator, click the blue circle switch on the manipulator to switch to extrude in world space (the second image in Figure 4.31). 21. Pull on the blue arrow of the manipulator to extend the face about three and a half units. 22. Use the blue scale handle of the extrude manipulator to flatten the arc in these extruded faces. 23. In the INPUTS section of the Channel Box, set Divisions for the polyExtrudeFace6 node to 8. 24. Select the pipe, and choose Mesh  Mirror Cut. A plane appears at the center of the pipe. 25. In the Channel Box, set the Y rotation of mirrorCutPlane1 to 0. The pipe is now mirrored across the z-axis. 26. Set the Translate Z channel of mirrorCutPlane1 to -3.42. The mirrored geometry is extended. If you see extra triangular polygons appear near the cutting plane, try moving the plane back and forth a little until they disappear. Disappearing Polygons It may look as though polygons disappear when you use the Mirror Cut tool. It might just be that Maya is not displaying them correctly. If this happens to you, select the object and apply a Lambert shader to it (just switch to the Rendering shelf and click the Lambert material icon). This should fix the problem. In the Outliner, several new nodes have been created. These include the mirrorCutPlane1 and the mirroredCutMesh1 group. The pipe has been renamed polySurface1 (Figure 4.32). Figure 4.31 Extrude and scale the faces at the long side of the pipe. ModelIng WIth deForMers | 185 27. Select the polySurface1 node, and choose Edit  Delete By Type  History. This removes the group nodes that were created. Select the mirrorCutPlane1 node, and delete it. 28. Name the polySurface1 node shoulderArmor1. Figure 4.33 shows some of the changes that were made to the shoulderArmor1 object to make it match the shoulder armor in the image using the Insert Edge Loop tool and the Extrude operation. 29. Save the scene as torso_v06.ma. To see a version of the scene to this point, open the torso_v06.ma scene from the chapter4\ scenes directory on the DVD. Modeling with Deformers Deformers are used to bend, twist, and otherwise warp geometry. They are often used as Animation and Rigging tools but are quite helpful when modeling as well. In this section, you’ll use several deformers to bend the shoulder armor into a shape that matches the design in the original concept sketch. Figure 4.32 Mirror the pipe across the z-axis using the Mirror Cut tool. Figure 4.33 Additional changes are made to the shoulderArmor1 object. 186 | CHAPTER 4 Polygon ModelIng Using a Lattice The lattice creates a rectangular cage around a selected surface. You can move, scale, and rotate the points of the lattice to deform the selected object. 1. Continue using the scene from the previous section, or open the torso_v06.ma scene from the chapter4\scenes directory on the DVD. 2. Select the shoulderArmor1 object. 3. Choose Modify  Center Pivot to place the pivot point at the center of the surface. 4. Turn on the TORSO and HELMET display layers so you can see the other parts of the model. 5. Move the shoulderArmor1 object roughly above the shoulder of the torso. Try the follow- ing settings (see Figure 4.34): Translate X: 4.327 Translate Y: 10.364 Translate Z: 0.21 Scale X: 0.783 Scale Y: 0.177 Scale Z: 0.783 6. With the shoulderArmor1 object selected, press the 3 key to switch to smooth mesh preview. 7. Switch to the Animation menu set, and choose Create Deformers  Lattice. Figure 4.34 Position the armor above the shoulder. ModelIng WIth deForMers | 187 Lattice Nodes There are two nodes created when you make a lattice: ffd1Lattice node and ffd1Base node. The letters ffd stand for “free-form deformer.” The changes you make to the lattice are made to the ffd1Lattice node. The changes in the shape of the ffd1Lattice cage are compared with the shape of the ffd1Base node, and the difference in the shape is transferred to the deformed object. If you need to move, scale, or rotate a lattice to match the position, size, and orientation of the object you want to deform, make sure you apply the transformations to both the ffd1Lattice and ffd1Base nodes. You can group them together and apply transformations to the group. Before you edit the points of the lattice, you need to change the settings on the lattice so it’s set up to deform the object correctly. 8. Select the ffd1Lattice node in the Outliner, and open its Attribute Editor. 9. Switch to the ffd1 tab, and turn off the Local option. This makes the deformation of the object smoother. When Local is on, changes to the lattice points affect only the object nearest the selected lattice point. When Local is off, changes made to the lattice points are applied more evenly to the entire object, resulting in a smoother deformation. 10. Switch to the ffd1LatticeShape tab, and enter the following settings: S Divisions: 9 T Divisions: 2 U Divisions: 15 This changes the way the lattice is divided. 11. Open the options for the Move tool. 12. Turn off Soft Select, and turn on Reflection. 13. Set Reflection Space to Object and Reflection Axis to Z. 14. Right-click the lattice, and choose Lattice Point. (Sometimes this is tricky if you are right- clicking both the lattice and the surface. Right-click a corner of the lattice that has empty space behind it.) 15. Drag a marquee selection over the lattice points at the front of the lattice. 16. Select the first six rows of lattice points, as shown in Figure 4.35. The points in the back of the lattice will be selected as well because of the Move tool’s Reflection settings. 17. Switch to the Rotate tool, and drag on the red circle at the center of the tool to rotate the lattice points along the x-axis. 18. Use both the Rotate tool and the Move tool to position the lattice points so the shoulder armor has a bend at the front and back (see Figure 4.36). 188 | CHAPTER 4 Polygon ModelIng Figure 4.35 Select the first six rows of lattice points. Figure 4.36 Rotate the selected lattice points and move them into posi- tion to create a bend in the surface. ModelIng WIth deForMers | 189 19. When you are happy with the bend created in the shoulderArmor1 object, select the object in the Outliner, and choose Edit  Delete By Type  History. This deletes the lat- tice nodes and makes the changes to the object permanent. 20. Save the scene as torso_v07.ma. To see a version of the scene up to this point, open the torso_v07.ma scene from the chapter4\ scenes directory on the DVD. Soft Modification Tool The Soft Modification tool is a special deformer designed to help you sculpt objects. Using it is similar to activating the Soft Select option in the Move tool. In fact, the Soft Modification tool was the predecessor to the Soft Select option. 1. Continue with the scene from the previous section, or open the torso_v07.ma scene from the chapter4\scenes directory on the DVD. 2. Select shoulderArmor1 in the Outliner, and select the Soft Modification icon in the tool- box. It’s the icon that shows a red arrow pulling up the vertices of a blue surface. When you activate the Soft Modification tool, the surface turns orange and yellow. The colors indicate the strength of the tool’s falloff, similar to the color coding used by the Soft Select option on the Move tool. When you activate the Soft Modification tool, you’ll see options in the toolbox to edit the tool’s falloff. However, when you edit the settings, you’ll see no change in the tool that is currently active in the viewport window. What’s happening is that these settings will be applied to the tool the next time you use it. 3. To edit the settings for the currently active Soft Modification tool, open the Attribute Editor, and select the softMod1 tab. 4. Set Falloff Radius to 3.3. 5. Pull up on the green arrow of the Soft Modification tool to add a rounded warp to the surface. Use the scale handles to shape the surface of the armor. 6. Switch to the Channel Box for the softMod1Handle, and enter these settings (the result is shown in Figure 4.37): Translate Y: 1.526 Scale X: 1.513 Scale Z: 1.472 7. In the toolbox, choose the Select tool. The Soft Modification handle and node disappear, and the changes are committed to the surface. 190 | CHAPTER 4 Polygon ModelIng 8. Select the shoulderArmor1 object, and use the Move, Rotate, and Scale tools to position it over the shoulder of the torso to match the concept sketch. Try these settings: Translate X: 4.327 Translate Y: 9 Translate Z: 0.775 Rotate X: -3.379 Rotate Y: 4.324 Rotate Z: -38.9 Scale X: 0.778 Scale Y: 0.176 Scale Z: 0.778 9. Use the Move tool with Soft Select activated to move the vertices, and continue to shape the shoulderArmor1 object. Try using the Crease tool to add creases to some of the edges (see Figure 4.38). 10. Save the scene as torso_v08.ma. To see a version of the scene to this point, open torso_v08.ma from the chapter4\scenes directory on the DVD. Figure 4.37 The Soft Modifi- cation tool adds a slight spherical bend to the surface. Figure 4.38 Shape the shoulderArmor1 object using the Move tool and the Crease tool. [...]... settings in the Channel Box: Translate X: 3. 806 Translate Y: 8. 237 Translate Z: -. 034 Rotate X: 84.726 Rotate Y: 13. 881 Rotate Z: 11.096 Scale X: 0.291 Scale Y: 0.291 Scale Z: 0.291 21 Duplicate polySurface1, and position the duplicate in the hole on the back side of the armor 22 Shift+click the shoulderArmor1 and both polySurface objects, and choose Mesh  Combine 23 Delete history on the new combined... edge on the inner ring of the torus See the upper-left image of Figure€4 .39 8 Use the Insert Edge Loop tool to create two new edge loops, one just outside the hole and one halfway down the top of the torus, as shown in the upper-right image of Figure€4 .39 9 Select the torus and press 3 to switch to smooth mesh preview Figure€4 .39 Create the bolt detail using a torus and a sphere Create the groove... polyBevel2 node in the Channel Box, and use the following settings: Segments: 3 Offset: 0 .3 Increasing the segments can make the bevel appear rounded You can also control the roundness using the Roundness attribute 13 Choose Create  Polygon Primitives  Cylinder to create a cylinder 14 Set the Translate Y channel to 0 .34 4, and set the Scale X, Scale Y, and Scale Z channels to 0.265 15 In the Channel... extruded surfaces and the curves 20 Use the Move tool to further refine the vertices of the trim surface (see Figure€4. 63) 21 Save the scene as belly_v 03. ma To see a version of the scene to this point, open the belly_v 03. ma scene from the chapter4\ scenes directory on the DVD Figure€4. 63 Use the Move tool to refine the shape of the torsoTrim object Boolean Operations A Boolean operation in the context... 12 Use the Move tool to shape the CVs of the second curve 13 Shift+click both curves, and choose Edit Curves  Attach Curves  Options 14 In the options, set Attach Method to Blend and disable Keep Originals Click Attach to perform the operation One end of the two curves will be joined (see the lower-left panel of Figure€4. 43) Figure€4. 43 Draw a curve in the front view (upper images) Create a duplicate... original curve 13 Select bevelPolygon1 in the Outliner, and rename it armorDetail1 14 Center its pivot by choosing Modify  Center Pivot 15 Position the surface roughly above the chest armor plate Try the following settings (your results may be different depending on the shape and size of your original curve): Translate X: -4.797 Translate Y: -8.926 Translate Z: 0.782 Rotate X: -36 .8 83 Rotate Y: 19.96... sphere, as shown in the lower-left image of Figure€4 .39 12 To create the groove in the bolt, select two rows of faces at the top of the sphere 13 Extrude the selected faces once and scale the extrusion slightly inward; extrude again and push the faces of the second extrusion down into the sphere This is shown in the lower-right image of Figure€4 .39 14 A smooth mesh preview surface can’t be combined... the upper-left panel of Figure€4. 43) 5 Draw an S curve, as shown in the upper right of Figure€4. 43 Snap each point to the grid as you go The curve should have about 14 CVs total (resulting in 11 spans) 6 Turn Grid Snapping off, and use the Move tool to rearrange the points on the curve so that the spiral shapes are smoother (see the upper-right panel of Figure€4. 43) 7 Select the curve, and switch... Curves  Open/Close Curves This closes the other end of the curves 16 Delete the history on the curve 17 Press the 3 key to smooth the display of the curve 18 Use the Move tool to reposition the points of the curve to create the spiral S curve design (see the lower-right panel of Figure€4. 43) 19 Save the scene as chestDetail_v02.ma To see a version of the scene to this point, open the chestDetail_v02.ma... them as shown in the lower panel of Figure€4.49 | Using Bevel Plus and Bevel Edges â•… 2 03 Figure€4.49 Create the centerpiece from two polygon meshes that have been beveled and combined 21 Use the extrude manipulator to scale the extruded faces down along their y-axes 22 Switch to edge selection mode 23 Shift+click the edges that run along the top edge of each extruded section, and choose Edit . (see Figure 4 .34 ): Translate X: 4 .32 7 Translate Y: 10 .36 4 Translate Z: 0.21 Scale X: 0.7 83 Scale Y: 0.177 Scale Z: 0.7 83 6. With the shoulderArmor1 object selected, press the 3 key to switch. the concept sketch. Try these settings: Translate X: 4 .32 7 Translate Y: 9 Translate Z: 0.775 Rotate X: -3. 379 Rotate Y: 4 .32 4 Rotate Z: -38 .9 Scale X: 0.778 Scale Y: 0.176 Scale Z: 0.778 9. Use. object. 20. Try these settings in the Channel Box: Translate X: 3. 806 Translate Y: 8. 237 Translate Z: 034 Rotate X: 84.726 Rotate Y: 13. 881 Rotate Z: 11.096 Scale X: 0.291 Scale Y: 0.291 Scale Z: