3D Modeling

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APTECH LIMITED

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Edition 1 – 2014

Disclaimer: Arena Multimedia is registered Brand of Aptech Ltd.

Preface

Creating 3D Modeling model on computer is more than just sculpting a model with clay. The book ‘3D
Modeling’ is designed to give solid foundation on modeling using a renowned 3D application called 3D
Modeling. This book is designed to learn basic and intermediate level understanding of 3D Modeling.
In this book you will learn different ways to create a model.

Each session of this book is followed by hands-on-projects, which enables you to use the tools
explained. The ARENA Design team has designed this course keeping in mind that motivation
coupled with relevant training and methodology can bring out the best. The team will be glad to
receive your feedback, suggestions, and recommendations for improvement of the book.

Please feel free to send your feedback to the ARENA Design team at the Head Office, Mumbai.

ARENA Design Team

 Table of Contents
Introduction to 3D Modeling
Introduction to 3D Modeling
Features of 3D Modeling
3D Modeling User Interface
Transforms in 3D Modeling
Summary
Exercise

NURBS Modeling
Introduction to NURBS Modeling
Creating NURBS Primitives
Edit NURBS Primitive Using Sculpt Geometry Tool
NURBS Curves and Surfaces
Trimming
Stitching
Sculpting Surface Meshes
Summary
Exercise

Polygon Modeling
Introduction to Polygon
Polygon Modeling
Polygon Primitives
Components of Polygon
Polygon Nodes
Polygon Workflow
Maintaining Line-Flow and Ngon’s in Modeling
Choosing Triangles Over Quads
Summary
Exercise

Subdivision Modeling
Introduction to Subdivision Modeling
Subdivision Surface Conversion
Editing Subdivision Surface
Summary
Exercise

Using Deformers for Modeling

Introduction to Deformers
Types of Deformers
Deformation Tools
Summary
Exercise

Organic and Inorganic Modeling

Introduction to Organic Modeling
Shapes of Organic Modeling
Anatomical Study of Organic Modeling
Introduction to Inorganic Modeling
Techniques Used in Inorganic Modeling
Reference Used for Inorganic Modeling
Summary
Exercise

Answer Key
 Iconography

: Note

: System Requirements

: Exercise Answers
 Se ssi on 1
Introduction to 3D Modeling
Learning Outcomes
In this session, you will learn to:

 Explain the concept of 3D Modeling

 Explain User Interface
 Explain the Transforms in 3D Modeling
 Explain the Snapping Hotkeys
 Explain the Channel Box and Layer Editor feature

1.1 Introduction to 3D Modeling

Refer 3D Modeling is 3 Dimensional (3D Modeling) software that is used to create 3D Modeling digital
descriptions including models, animation, visual effects, and games.

System Requirements
The system requirements for 32-bit 3D Modeling 2012 software is given in Table 1.1.

Requirements Recommended Minimum Minimum

Requirement Requirement Requirement
for Windows for Windows for Macintosh

Microsoft® Windows® 7 Microsoft® Windows Microsoft®

Operating System Windows® XP
Professional Vista® Business (SP2)
Professional (SP3)

Windows: Intel® Pentium® Windows: Intel® Windows: Intel®

CPU 4, Pentium® Pentium®
AMD Athlon™ processor 4, AMD Athlon™ 4, AMD Athlon™
with processor processor
SSE3 instruction set support with SSE3 instruction set with SSE3
instruction set
(or higher) support (or higher)
support (or higher)

RAM 2 GB RAM 2 GB RAM 2 GB RAM

Free hard drive 10 GB 10 GB 10 GB

space

Table 1.1: System Requirements

1.2 Features of 3D Modeling
The main features of 3D Modeling are divided in the following categories:

1.2.1 Model Creation

The user can use different kinds of modeling based on preference. Each kind of modeling has its own
special features. Following are the three kinds of modeling that the user uses while working on 3D
Modeling:
 Polygon modeling: This modeling type allows the user to build and reshape a simple surface
with certain polygon features. It is a more advanced modeling than Non-Uniform Rational Basic
Splines (NURBS) or Subdivision (SUB-D) modeling.
 NURBS modeling: This modeling type allows the user to create smooth, curving surfaces with
high-end controls.
 SUB-D modeling: This kind of modeling is not high-end modeling, but it allows the user to edit
the high-end surfaces which are more like a polygon. It also allows the user to see smoother
versions of the model done in Polygon. It gives the control of both NURBS and Polygon.

1.2.2 Texturing and Shading

Texturing or texture mapping in 3D Modeling is to add surface details to define the material of an
object or a character. Texturing can be done in various methods inside 3D Modeling.

Generally, a texture is created in a 2D program such as Photoshop and then mapped on to a 3D

Modeling object either by projection or surface mapping.

Good texturing is important since it defines the material of an object, whether it is a stone, a cotton
ball, or a human skin.

Texturing includes various other channels apart from color, which are bump, specular, reflective, and
so on to give a more realistic look and life to an object or a character.

1.2.3 Rigging of Characters

Before rigging, the character or model is unwrapped and textured. Texturing can be done either after
rigging or animation, but before lighting.

Rigging is a feature where the user can apply skeletons on a model, character, object, or anything
that needs to be animated. Generally, for a realistic human muscle, rigging is used and at times the
muscles are also used for animated cartoon characters. To deform the character, model, or object,
rigging is very important.

Most of the characters (such as animals, humans, or anything that moves) created by animation
involve certain features such as expressions and movements of the characters that need to be
worked on. 3D Modeling allows the user to give a realistic look to the characters with the help of the
rigging feature.

1.2.4 Animation

3D Modeling enables the user to animate anything from characters to models using the Animation
feature. Users can control the time and space of the character and object by keyframe animation.
1.2.5 Lighting, Shading, and Rendering

When the user needs to render or sharpen any still image or a movie of animation, it can be created
with the help of the rendering feature in 3D Modeling. With a quadro graphic card, the images inside
the newly added viewport are sharp and give a close approximation of rendered image. The user
does not waste time in rendering, every time the changes are made.
Shading is covered in texturing, though it directly compliments lighting. Lighting and rendering is a
process for creating visuals appealing in a stylish way or in a photo-realistic Computer Graphic (CG)
imageries, which are physically accurate.
Lighting is a color of the object that is seen based on the way the objects interact with light. A shot or
single scene in 3D Modeling is made to give more appeal to the other work and create a pleasing and
acceptable image for more visual interest to a CG work.
Inside a 3D Modeling application like 3D Modeling, results can be achieved which would be
impossible to create in a real world.

Rendering is the process of producing the modeled, textured, rigged, animated, and lit shot as one
final image or video. Rendering is the calculation done to create the final image from 3D Modeling or
any 3D Modeling application.
1.3 3D Modeling User Interface
The user can show or hide the User Interface (UI) elements of 3D Modeling based on the preference.
3D Modeling UI enables the user to use various features efficiently and effortlessly. Figure 1.1
displays the UI of 3D Modeling.

Figure 1.1: 3D Modeling User Interface

1.3.1 Main Menu

The main menu is a horizontal display of commands comprising a drop-down menu under each
command.

1.3.2 Status Line

The status line or toolbar allows the user to change the menu set, access common functions, control
the selection mask, set various options, and also change the content of the side bar.

1.3.3 Shelves

Shelves comprise the commonly used functions by the user. The user can edit, add, or delete the
functions based on the preference. Figure 1.2 displays the shelves option.

Figure 1.2: Shelves

The user can store the commonly used tools on the shelf which are easy to access. 3D Modeling has
some of the shelf items that are pre-configured for use.
 Figure 1.3: Perspective (Persp) View

1.3.4 Panel Menu

When the user starts working on 3D Modeling, the workspace is displayed by default in a perspective
window (persp). Figure 1.3 displays the perspective (persp) view viewed by the user from a
perspective camera. The panel is labelled as perspective and is located at the bottom of workspace.

1.3.5 Toolbox

The toolbox is located vertically on the left-side of the window. It allows the user to access the icons
that are used for the transformation of the created models such as rotate, select, move, and scale.
Figure 1.4 displays the view of the toolbox which comprises some common icons used.

Figure 1.4: Toolbox

1.3.6 Panel Toolbar

The panel toolbar resets the panel menu in each view panel. The toolbar allows the user to access
the frequently used items that exist within the panel. Figure 1.5 displays the panel toolbar.

Figure 1.5: Panel Toolbar

1.3.7 Workspace

The workspace is an area where the user does most of the work in 3D Modeling. It is a window that
is located in the center of the screen. Figure 1.6 displays the area of the workspace where the user
works on his models. The Viewcube is located on the top-right side of the Workspace screen which
allows the user to view the different views of the models created (top, bottom, left, and right).

Figure 1.6: Workspace

1.3.8 Time Slider and Range Slider

The time slider and range slider are the main tools used for animation of the 3D Modeling models
created. They allow the user to control the time and the playback range of animation. Time and range
slider is a tool similar to ruler and is placed under the workspace area. Figure 1.7 illustrates the time
and range slider. Range slider is controlled by the time slider. It also comprises the playback controls
which allow the user to run the animation set on the time and range slider.

Figure 1.7: Time and Range Slider

The user can also use the Preferences icon located below the Playback Controls or on the menu
bar, select WindowsSetting/PreferencesPreferences. This option is used not only for editing
the animation settings of the created models but also for the entire 3D Modeling workflow, such as the
grid settings, default projects, autoSaves, rigging, rendering, and UI. Figure 1.8 displays the
Preferences windows for \ Time Slider and Playback settings.
 Figure 1.8: Preferences Window for Time Slider

1.3.9 Command Line

The text entry field that is located under the time and range slider is called Command Line. It is used
to execute programs or single line codes. Figure 1.9 displays the Command Line field. The command
line field on the bottom-left side after 3D Modeling Embedded Language (MEL) is used to write the
code. The area on the left displays the command feedback of the entered command codes or displays
the warnings or errors from the scripts. The Script Editor displays the window where the user can
enter the commands to execute the code.

Figure 1.9: Command Line

1.4 Transforms in 3D Modeling
Transform means to move, edit, rotate, and crop the various features of the object. Transformation
means to revolve or rotate around the axis, which can either be a world, local, or object axes.

1.4.1 Selecting Objects

The Selecting Object feature allows the user to select the objects in the view panel on the left-hand
side of the window. Figure 1.10 displays the Select Tool feature.

Figure 1.10: Select Tool

 Inverting a Selection

The invert selection under edit menu inverts any selection to the current selected polygonal
geometry or NURBS geometry object. To invert an object, choose the section that needs to be
inverted and then select EditInvert Selection.

1.4.2 Using Transforms

The basic transform tools allow the user to use all the functions such as move, rotate, or scale. There
is a Universal Manipulator tool also which allows the user to perform all the editing features with the
help of a single tool. Figure 1.11 displays the Transformation tools. The position manipulator allows
the user to use the various features based on the position.
 Figure 1.11: Transformation Tool

 Move Tool

The Move Tool allows the user to move the object from one location to another. Figure 1.12
displays the Move Tool. The Move tool comprises the Y Handle which moves the object
upwards, X Handle which moves the object to the right side and the Z Handle which moves the
object to the left side. Centre moves the whole object wherever required.

Figure 1.12: Move Tool

 Rotate Tool

The Rotate Tool allows the user to rotate the object in 360 degrees. Figure 1.13 displays Rotate
Tool feature.
 Figure 1.13: Rotate Tool

 Scale Tool

The Scale Tool allows the user to drag the object as per the preference. Figure 1.14 displays
Scale Tool feature.

Figure 1.14: Scale Tool

 Universal Manipulator Tool

This tool allows the user to use all the functions of rotation, scaling, and positioning in one feature.
Figure 1.15 displays Universal Manipulator Tool feature.

Figure 1.15: Universal Manipulator Tool

 Soft Modification Tool
The Soft Modification Tool allows the user to push or pull the object the way one would do with
a clay to form a shape. This allows the user to form a high density mesh smoothly without actually
having to adjust each vertex manually. The amount of deformation at the center is greatest and
gradually falls off. However, it can be controlled accordingly based on the effects required by the
user. Following is the process to use the Soft Modification feature. Figure 1.16 displays Soft
Modification Tool feature.

Figure 1.16: Soft Modification Tool

 Show Manipulator Tool

The Show Manipulator Tool displays all the features such as rotating, scaling, and dragging
which are displayed in a single feature. Figure 1.17 displays Show Manipulator Tool feature.

Figure 1.17: Show Manipulator Tool

1.4.3 Undoing and Redoing

The user can undo and redo the features to go back to the original feature. To undo a feature select
EditUndo or press Z key. The user can redo by selecting EditRedo or press Shift+Z key.

1.4.4 Duplicating Objects

The user can duplicate the objects to save time from recreating them. To duplicate objects select
EditDuplicate or press Ctrl+D key.

1.4.5 Snapping

Snapping means, points on two objects are picked together to snap. A particular point on one object
and a particular point on the other object are linked together in order to snap.

 Snap to Grids
Snap to grid simply means when the user wants to snap the object on the grid or the workspace
where the object is placed. The Snap to grids option is located on the Status Line of the 3D
Modeling UI. Figure 1.18 displays the Snap to grids feature on the status line.

Figure 1.18: Snap to grids feature

 Snap to Curves
Curve snapping allows the user to snap to NURBS curves, to polygonal edges, and anything that
comprises curves in 3D Modeling. Figure 1.19 displays the Snap to curves feature on the status
line.

Figure 1.19: Snap to curves feature

 Snap to Points

When the user needs to snap two points in two objects to align them, it is known as Snapping to
points. Figure 1.20 displays the Snap to points feature on the status line.

Figure 1.20: Snap to points feature

1.4.6 Snapping Hotkeys

Snapping hotkeys are the shortcut keys that are used for snapping features. Table 1.2 displays the
snapping hotkeys.
 Command Shortcut Keys

Snap to Curve c

Snap to grids x x

Snap to points v

Table 1.2: Snapping Hotkeys

1.4.7 Outliner

The Outliner displays a list of objects created by user, which are and are not visible on the screen.
These objects can be retrieved with the help of the Outliner option.

1.4.8 Open Outliner in a Window

The user can open the Outliner in the window by selecting WindowOutliner option. The list of
objects includes the shape nodes, connections, and attributes. Figure 1.21 displays the list of objects
created in the Outliner option.

Figure 1.21: Outliner

 Grouping
There are certain objects in the screen that are related to each other but not grouped or made as
a single entry. Any collection of objects can be grouped or made into a single entry by selecting
 EditGroup. It will by default be displayed in the Outliner window. Figure 1.22 displays the
grouped object in the Outliner window.

Figure 1.22: Grouping

 Parenting and Grouping

There is a parent node to which all the other nodes are attached. The other nodes which are
attached act as children. Thus, grouping of such nodes in which the link between them is shown
is known as Parenting and Grouping. Select EditParent to parent and group the nodes.
1.4.9 Channel Box

The Channel Box / Layer Editor are important features of 3D Modeling which allow the user to
change the attributes of the model created. On the menu bar, select DisplayUI Elements and tick
Channel Box / Layer Editor. Both these options are displayed on the right-hand side of the window.
Figure 1.23 displays the Channel Box / Layer Editor feature.

Figure 1.23: Channel Box/Layer Editor

In the Channel Box / Layer Editor, the attribute measures can only be displayed if the object is
selected or else shows blank.
1.5 Summary
In this session, Introduction to 3D Modeling, you learned that:
 User interface in 3D Modeling consists of various menus, sub-menus, and features of modeling in
3D.
 Different editing features help the user to create and edit the objects efficiently.
 Importance and understanding in depth helps in using transforms in 3D.
 Snapping hotkeys are the shortcut keys that are used for snapping features.
 The Channel Box / Layer Editor features of 3D Modeling that allows the user to change the
attributes of the model created.
1.6 Exercise
1. The time slider and range slider allows the user to control the time and the playback range of
animation.
True

False

2. __________ comprise the commonly used functions by the user. This is located below the Status
Line.

Toolbox
Shelves

Transformation Tool

Time and Range Slider

3. The area where the user does most of his work is called ___________.

Channel Box

Layer Editor

Workspace

Command Line

4. The tool that allows the user to carry out all the functions of the transformer tools is called Universal
Manipulator.

True

False
 Se ssi on 2
NURBS Modeling
Learning Outcomes
In this session, you will learn to:

 Explain NURBS primitives

 Describe NURBS surfaces by using Revolve tool
 Describe the use of the Sculpt Geometry tool while editing NURBS Primitives
 Explain the process of trimming
 Explain the process of stitching
 Explain sculpt surface meshes
 Describe the menu options under the NURBS menu
 Describe the various modes available in NURBS Primitives

2.1 Introduction to NURBS Modeling

NURBS stands for Non-Uniform Rational Basic Splines. NURBS modeling involves creation of curves
and surfaces from point positions so as to have precise control. A NURBS curve is generated from
series of mathematically defined and derived points. NURBS surfaces are created using a single or
set of NURBS curves that outlines the shape that is needed for a surface. Surfaces created using
NURBS modeling method are well suited for any 3D applications.

Using the NURBS modelling, the user will be able to create:

 Organic and flowing surfaces for modeling animals, humans, fruits, and flowers.
 Surfaces for mechanical equipments such as automobiles and home appliances.
 NURBS curves for defining a smooth motion path for an animated object.

2.2 Creating NURBS Primitives

3D Modeling readily provides the models of commonly used geometrical shapes. These shapes often
act as a foundation for other shapes and are located under the Create menu in the different headings
depending upon the modeling type. NURBS Primitives pick and place feature enables to select and
use the desired shapes from the tool and place them on the grid by just clicking it.

Depending upon the settings of the option Interactive Creation the dimension of the primitive will be
manipulated while placing it. If the Interactive Creation check box is checked NURBS Primitives will
ask to define the dimensions of the shape by clicking and dragging it on the grid. If the Interactive
Creation check box is unchecked NURBS Primitives will create the model of unit dimension.

To demonstrate the tool: create Sphere using NURBS Primitive:

1. Select CreateNURBSPrimitivesSphere.

(Depending upon the setting for Interactive Creation define the diameter of Sphere.)
 Figure 2.1 displays how to create a sphere using NURBS primitive.

Figure 2.1: Creating Sphere Using NURBS Primitives

2. Click and drag the grid to define the dimension of the sphere as shown in Figure 2.2.

Figure 2.2: Sphere Dimension

3. If required the parameters of the sphere can be changed using the Channel Box.

Note

If you wish to create multiple number of same shapes one after other; uncheck the Exit on
Completion check box.
2.2.1 Using Revolve Tool

The Revolve tool functionality provided under the Surfaces tab empowers the user to create surface
for the circular shaped body. This command rotates the curve around the specified axis to create a
circular shape. For instance to create a model of Ball, a semi-circle curve is drawn and rotated around
the axis. Depending upon the requirement the profile curve can be rotated around 3600 or at the
desired angle. This tool will be explained using the example of an Ice-Cream Bowl as shown in
Figure 2.3.

Figure 2.3: Ice-Cream Bowl

2.2.2 Creating a Base Profile Curve

The Revolve tool creates a surface by spinning the profile curve around the axis. Hence, the first
step to create the revolve surface is to create a profile curve in 2D view.

Note

Ensure that the Construction History icon located below the pull down menu is turned
ON. This is essential to edit the NURBS surface.

To create a profile curve:

1. Set the view using the options in the View tab.

2. Select CreateCV Curve Tool. CV in CV Curve Tool stands for Control Vertices. CVs are
the control points that can be used to manipulate a curve (or surface). These control points
often lie away from the curve.

3. Click in the grid to place the CVs as shown in Figure 2.4.

 Figure 2.4: CV Curve

4. The first CV is represented by empty box. The second CV is represented by the alphabet ‘U’
and the rest are represented by a square shaped point.

5. First three CVs placed are connected by a straight line. After the third CV each CV placed is
smoothly connected to create the shape of the curve. Thus, it is essential to place minimum
four points in order to create a CV Curve.

6. The last CV placed can be removed by pressing the Delete button.

7. To edit the position of the last placed CV, press Home or Insert button. A manipulator
appears on the CV. Use the manipulator to relocate the CV, press Delete button to delete a
segment, or click another CV to edit. To exit the manipulation mode again press Home or
Insert button.

8. To create a point or corner, click three times in the same spot. The point clicked after this will
be connected by a straight line.
9. Press the Enter button to finish the curve.

10. To specify the exact locations of the CVs, right-click till the time the component mode options
appear. Select the option Control Vertex and edit the position of CVs by individually selecting
them and changing the values in the Channel box.

11. To use this curve to create a revolve surface it is recommended that the complete profile curve
should be on the either side of the spinning axis (indicated by Dark thick line).

12. Select the curve and rename to Ice-Cream Bowl Profile from the channel box. Renaming of the
entities is helpful for identification when the scene is crowded.

To make use of the advanced editing and manipulating options in 3D Modeling, it is essential
to know the starting point of the curve and also the direction in which the curve flows. While
using CV Curve Tool the first CV is the start point of the curve. It is represented by a small
empty box. The CV curve direction is indicated by the second CV represented by the alphabet
‘U’.
2.2.3 Creating a Revolve Surface from Profile Curve

Make use of the created CV curve to create a revolve surface.

To create a revolve surface:

1. Select the profile curve in the object selection mode. When the curve is selected it will be
highlighted in Cyan color.

2. Click the Surface tab below the menu buttons and select the Revolve button . On
selecting the Revolve tool surface is created by spinning the Ice-Cream Bowl profile around
the axis on which its start and end points lie. The profile curve from which the surface is
generated is shown in blue color in Figure 2.5.

Figure 2.5: Profile Curve

3. The spinning axis and the other input parameters can be changed from the Attribute Editor
box. Select the surface and rename it to Ice-Cream Bowl. If the Revolve tool is double-clicked
after selecting the profile curve it will open the Revolve Option box, wherein the inputs for
creating the surface can be changed. To understand the working of the revolve tool see the
results by changing the Axis preset. To create a section of the Ice-Cream Bowl change the
value of the Start sweep angle and End sweep angle. In the following topics edit the profile
curve to manipulate the revolve surface as shown in Figure 2.6.

Figure 2.6: Revolve Options

 4. The display of the surface can be changed using the options under DisplayNURBS.
Alternately, pressing the shortcut keys 1, 2, and 3 can also be used to switch between the
degrees of smoothness. It is recommended to work with lower degrees of smoothness while
editing the model.

2.2.4 Editing a Revolve Surface

Maya gives the flexibility to modify the NURBS surfaces using the editing tools. Using the editing tool
modify the original profile curve from which the surface is created. To modify the original profile curve,
select the profile curve. If the working model has number of profile curves selecting the curve can be
challenging. (This is a reason you renamed the curve and surface after creating it). To facilitate the
selection Maya provides a history tree of the model called as Outliner.

This tool can be accessed from WindowOutliner. The Outliner lists the features in the order
they are used to create the model. It assists in quickly pointing and selecting the feature to be
edited.
1. Select WindowOutliner. This will open the Outliner box on the screen as shown in Figure
2.7. To edit the surface modify the profile curve from which it is created.

Figure 2.7: Outliner

2. Select the curve Ice_Cream_Bowl_Profile from the Outliner. The selected curve gets
highlighted and is displayed in cyan color.

3. With the curve selected, right-click the scene till the time options appears on the screen.
Select the Control Vertex option by pointing the curser on it. The CVs for the curve are
shown in pink color.
 4. Select ModifyTransformation ToolMove. Depending upon the section of the surface
to be modified, select the closest CV. When the CV is selected a Manipulator appears.
This manipulator has three handles (representing the three axes) for manipulating the
position of the CV in the scene as shown in Figure 2.8.

While manipulating the position of the CV the surface also changes.

Figure 2.8: Manipulator Option

2.3 Edit NURBS Primitive Using Sculpt Geometry

Tool
2.3.1 Sculpt Geometry Tool

The shapes created using the NURBS Primitives can be edited and sculpted using the Sculpt
Geometry Tool. Using the Sculpt Geometry Tool the user can manipulate the locations of the CVs
to get the shape of choice as shown in Figure 2.9.

Figure 2.9: Sculpt Geometry

2.3.2 Creating a Base Surface for Sculpting

The sculpting tools will be demonstrated with the example of face. To create the base surface for
sculpting, use the NURBS Primitive studied earlier. Here a Sphere is created as the base of the face
model.

To create a Sphere for sculpting:

1. Select CreateNURBS PrimitivesSphere. Create the sphere with the following
parameters: Radius: 8, Number of Sections: 36, Number of Spans: 36. The parameters of
the sphere can also be modified after placing it. To do so, select the sphere and edit the
values in Attribute EditormakeNurbSphere1. Rename the sphere as Base Sphere as
shown in Figure 2.10. The Number of Sections and the Number of Spans define the vertical and
horizontal curves called as Isoparms. Number of CVs of the surface depends upon these
isoparms. More the number of isoparms, more is the number of CVs and more is the
control while editing the surface.

Figure 2.10: Base Sphere

2. As the face is not exactly of the sphere shape, scale the sphere along a particular axis to
make it appear like Oval shape. To do so set the view in front view, select the sphere
surface, and scale it to 1.3 using the Attribute Editor in Y axis as shown in Figure 2.11.

Figure 2.11: Attribute Editor

 3. For better visibility of the surface during sculpting, assign some material to the surface. To do
so right-click and select the Assign New MaterialBlinn. In the Attribute Editor, drag the
Color attribute slider roughly 3/4th of the way to the right and set the value of Eccentricity to 0
as shown in Figure 2.12.

Figure 2.12: Attribute Editor

2.3.3 Basic Sculpting Techniques

With the Sculpt Geometry Tool the surface can be manipulated without making use of the CVs.
Using the Sculpt Geometry Tool five different operations are performed: push, pull, smooth, relax,
pinch, and erase. These operations manipulate the position of the surface’s components to sculpt the
surface shape.

Note

After getting familiar to these tools, the features used will be deleted to restore the oval
shape and you will begin the sculpting the face features.

To carry out sculpting using basic sculpting operations:

1. With the Base_Sphere surface selected, Select Edit NURBSSculpt Geometry Tool .

As mentioned, the Sculpt Geometry Tool can be used to perform the operations: push, pull,
smooth, relax, pinch, and erase. All these six options can be seen under the Sculpt
Parameters Section. Refer to Figure 2.13.

Figure 2.13: Sculpt Parameter Section

2. The Push operation creates depression in the surface at the region where stroke is
applied as shown in Figure 2.14.
 Figure 2.14: Stroke Surface

3. The Pull operation raises the surface in the region of the stroke as shown in Figure 2.15.

Figure 2.15: Stroke Region

4. The Smooth operation reduces the uneven drag regions as shown in Figure 2.16.

Figure 2.16: Before and After Smooth Operation

5. The Relax operation paints over bumps to relax most of the out of place surface features
as shown in Figure 2.17.

Figure 2.17: Before and After Relax Operation

6. The difference between the Smooth and the Relax is that the Smooth tool averages all the
features which come within the brush radius, whereas the Relax tool identifies the largest
surface within the brush radius and manipulates the same in order to maintain the overall
shape.

7. The Pinch is particularly used to sharpen existing corners or creases.

8. The Erase operation deletes the modifications done using the previous five operations.
While using the Sculpt Geometry Tool when the brush is brought closer to the selected
surface, it changes to a red sculpt icon. This icon also shows an abbreviation for the name of
the operation being performed. The radius of the red circle can be changed by modifying the
value of Radius (U) in the Tool Setting of Sculpt Geometry Tool.
2.3.4 Additional Sculpting Techniques

Opacity and Max Displacement parameters are located in the Sculpt Parameter section of the
Sculpt Geometry Tool.
The Max Displacement specifies the maximum distance that the sculpt sphere can push or pull a
deformable object’s points from the sphere’s surface. The Max Displacement values ranges from 0 to
5. The Maya default for Max Displacement is set to 1.

The Opacity value affects the Max Displacement by scaling its deformation effect. This means that
if the value of Max Displacement is set to 2 and the Opacity value is set to 0.5, the stroke created
using this setting will have only 0.5% effect of the Max Displacement setting. The Opacity values
ranges from 0 to 1. The Maya default for Opacity is set to 1.

To study the effect of the Sculpt Parameters Opacity and Max Displacement:

1. Select Pull operation and draw a vertical pull stroke on the surface as shown in Figure
2.18. Note that the default Max Displacement value is to 1.

Figure 2.18: Pull Feature

2. In the Tool setting box for the Sculpt Geometry Tool, under the Sculpt Parameter section
set the Max Displacement value to 2. To set the value either enter it or drag the scroll bar to
right side.

3. Select Pull operation and draw a vertical pull stroke nearby to the previously created
stroke.
Observe when the value of Max Displacement is set to 2, the displacement of the surface is
more as compared to the displacement when the value of Max Displacement is set to 1 as
shown in Figure 2.19.

Figure 2.19: Max Displacement When Value is Set to 1

4. Select the Erase operation delete the modifications done to restore the original shape.

5. Select Pull operation and draw a vertical pull stroke on the surface. Note that the default
Opacity value is to 1.

6. In the Tool setting box for the Sculpt Geometry Tool, under the Brush section set the
Opacity value to 0.1. To set the value you can either enter it or you can drag the scroll bar
to right side as shown in Figure 2.20.

Figure 2.20: Max Displacement When Value is Set to 0.1

7. Select Pull operation and draw a vertical pull stroke nearby to the previously created
stroke as shown in Figure 2.21.

Figure 2.21: Pull Option

Observe that when the value of Max Displacement is set to 2 and the Opacity value is set to 1,
the displacement of the surface is more as compared to the displacement when the value of
Max Displacement is set to 2 and the Opacity is set to 0.1.
8. Select the Erase operation delete the modifications done to restore the original shape.

9. Press the Reset Tool button on the Tool setting box for the Sculpt Geometry Tool. This
action reset the default values for Max Displacement and Opacity.
2.3.5 Sculpting the Face Features

To sculpt the nose feature:

1. Set the display to Perspective view. To sculpt the nose feature use the soft strokes of the
Pull operation in vertical and horizontal direction.
2. With the Base sphere surface selected, select the Sculpt Geometry Tool.
3. Select Pull operation. To get the soft strokes of this operation set the brush radius (U)
value as 1 and the opacity value as 2. In the brush profile setting, select Gaussian brush .

4. To create the nose use vertical and horizontal Pull strokes. Draw the vertical stroke to create
the nose feature between the eyebrows and the nose tip. To do so gradually decrease the
stroke length so that a perfect nose tip is generated.

5. To create the nostrils draw the horizontal stroke near the tip of nose. To create a feature in
small area, locate the brush in the desired area and left click the mouse button instead of
dragging it to create the feature as shown in Figure 2.22.

Figure 2.22: Nostril Creation

6. To make the nostril feature realistic slightly depress the surface below the nose tip using the
Push operation.

The density of the isoparms plays a key role in creating the finer details of the features. Maya
gives the flexibility to locally increase the density of isoparms.

Note

To sculpt
The Pullthe eye socket
operation feature:
used to create the vertical and horizontal features of the nose can be
assisted by the Smooth operation for better results.
1. Retain the radius and opacity setting of the Pull operation. Select the Push operation.

To sculpt the eye socket feature:

1. Retain the radius and opacity setting of the Pull operation. Select the Push operation.
 2. The eye sockets are located symmetrically around the nose. The advanced option Reflection
under the Stroke section of the Sculpt Geometry Tool enables you to create a mirror feature
along the selected axis.
3. Turn on the Reflection option and set the Reflection axis as X. When the brush is positioned
on the surface the user can see two brushes. Adjust the location of brush to create a pair of
identical eye sockets.

4. To create the depression of the eye socket, click the left button of mouse repeatedly at the
desired location as shown in Figure 2.23.

Figure 2.23: Sculpting Eyebrows

To sculpt the eye brows:

1. Select Pull operation.

2. Adjust the location of brush and draw horizon strokes above the eye sockets to create a pair
of identical eye brows as shown in Figure 2.24.

Figure 2.24: Creation of Identical Eyebrows

To sculpt the mouth:
1. To sculpt the mouth draw the horizontal strokes of lips using Pull operation. To make the lips
look realistic the curves should be fine which means more Isoparms below the nose are
needed.
2. To insert additional Isoparms right-click the base sphere and select Isoparm. Doing this the
isoparm mode is activated and the existing Isoparms is selected.

3. Select the horizontal Isoparm below the nose. The selected Isoparm is shown in yellow color
as shown in Figure 2.25. For multiple selections hold the shift button and select two more
Isoparms.

Figure 2.25: Mouth Sculpting

4. Select Edit NURBSInsert Isoparms, this will open the Insert Isoparms options window as
shown in Figure 2.26. Click the Between Selections check box. In this case add two
isoparms between each pair selected. To do so enter value 2 in the # Isoparms to Insert and
click the Insert button.

Figure 2.26: Editing NURBS

5. Select Edit NURBSInsert Isoparms, this will open the Insert Isoparms options window.
Click in the Between Selections check box. In this case add two isoparms between each pair
selected. To do so enter value 2 in the # Isoparms to Insert and click the Insert button.
 6. To create the lips first create the depression between upper and lower lip. With the
preparations completed for the creating the lip feature, select the Push operation from the
Sculpt Geometry Tool. Set the Radius (U) value at 0.2. Ensure that the Reflection check box
in the Stroke section is selected.

7. Position the brush on the freshly created horizontal isoparm such that there are three
isoparms above and below it as shown in Figure 2.27. Adjust the location of the brush so that
two icons of the brush overlap each other. Create the depression by drawing the outward
stroke from the selected point.

Figure 2.27: Isoparms Creation

8. To create the upper and lower lip, select the Pull operation from the sculpt geometry tool
and set the Radius (U) value at 0.3. To create the lips by drawing the outward strokes. Use
the Smooth/Relax tool to give the fine touch to the lips as shown in Figure 2.28.

Figure 2.28: Creation of Lip

Note

The default Reference Vector setting is Normal i.e. in the perpendicular direction of the
surface. If you observe some undesirable results, change the Reference Vector setting to
Z axis. The default Reference Vector setting is Normal i.e. in the perpendicular direction of
the surface. If you observe some undesirable results, change the Reference Vector setting
to Z axis.
A rectangle that covers the drawing page can be drawn by double-clicking the Rectangle tool.
2.4 NURBS Curves and Surfaces
2.4.1 How to Reshape a Curve

The shapes created using the NURBS modeling can be edited manually.
 To Move Control Vertex (CVs) on a Curve or Surface

1. Click the curve or surface, and select Control Vertex as shown in Figure 2.29.

Figure 2.29: Control Vertex Selected

2. Select the Move tool . .

3. Select the CVs, which is to be edited and move them by using the manipulator as shown in
Figure 2.30.

Figure 2.30: Manipulator Option

2.4.2 Edit Bezier Curves
 Add/Remove Anchors

To add an anchor on an existing curve:

1. Select the Bezier curve.

2. Right-click the curve and select Curve Point from the Marking Menu as shown in Figure
2.31.

Figure 2.31: Curve Point

3. Click the curve to insert an anchor as shown in Figure 2.32.

Figure 2.32: Curve to Insert an Anchor

4. Select the Edit CurvesInsert Knot.

5. Insert Knot Options box is displayed as shown in Figure 2.33.

Figure 2.33: Insert Knot Options

6. Select Insert locationAt selection option to insert the knot exactly at the selected curve
point.
 7. Select Insert locationBetween selection option to insert the knot halfway between a pair
of selected curve points.
8. Select MultiplicitySet to option to insert an absolute number of knots according to the
multiplicity value.
9. Select MultiplicityIncreased by option to add extra knots to the point according to
the multiplicity value.
10. Select keep Original option to keeping the original curve in addition to creating the curve with
new knots.

To remove an anchor:

1. Select the Curve.

2. Right-click the curve and select Control Vertex from the Marking Menu as shown in Figure
2.34.

Figure 2.34: Select Control Vertex from Marking Menu

3. Select the anchor as shown in Figure 2.35.

Figure 2.35: Selected Anchor

4. Press the Delete key.

 Add/Remove Tangents

To add tangents to an anchor:

1. Select the anchor that to add tangent.
2. Press the Shift key and right-click to select either Bezier or Bezier corner from the
Marking Menu as shown in Figure 2.36.

Figure 2.36: Bezier Corner

3. To create an unbroken pair of tangents, select Bezier.

4. To create a broken pair of tangents, select Bezier Corner.

5. A pair of tangents appear attached to the selected anchor.

To remove tangents:

1. Select the anchor to remove tangent.

2. Press the Shift key and right-click to select the Corner from the Marking Menu as shown in
Figure 2.37.

Figure 2.37: Removal of Tangent

3. The tangent is removed.

 Transform Anchors and Tangents

To move anchors or tangents on a Bezier Curve:

1. Select the Move Tool .

2. Right-click the curve and select Control Vertex from the Marking Menu as shown in
Figure 2.38.

Figure 2.38: Control Vertex

3. Select the anchor or tangents to edit and use the manipulator to move them accordingly as
shown in Figure 2.39.

Figure 2.39: Manipulator Option

To move tangents while maintaining tangent angles:

1. Select CreateBezier Tool.

2. Select the anchor corresponding to the tangent to move.

3. Press the Shift key and drag the tangent.

4. The tangent moves but only in the direction that preserves the tangent angle. Refer to
Figure 2.40.

Figure 2.40: Control Vertex Option

To scale tangents on a Bezier Curve:

1. Select the Scale tool .

2. Right-click the curve and select Control vertex from the Marking Menu.

3. Select the anchor attached to the tangents to scale.

4. Use the Manipulator to scale them as shown in Figure 2.41.

Figure 2.41: Manipulator Option

 Open/Close a Curve

To open/Close a Bezier Curve:

1. Select a Curve.

2. Press the Shift key and right-click, the Marking Menu appears.

3. Select the Open/Close Curves option from the Marking Menu as shown in Figure 2.42.

Figure 2.42: Open/Close Curve

4. The start and end anchor are connected or disconnected on its current state as shown in
Figure 2.43.
 Figure 2.43: Close Curve Anchor

Note

The user can choose to close a curve from the Bezier Curve Tool .

 Break/Smooth Tangents

1. To break the tangency of an anchor:

2. Select a Bezier Curve.

3. Press the Shift key and right-click, the Marking Menu will appear.
4. Select Break Anchor Tangents from the Marking Menu as shown in Figure 2.44.

Figure 2.44: Break Anchor Tangents

 5. The tangents can be moved independent to the other.

6. Alternatively, select the tangent.

7. Select the Edit CurvesBezier CurvesTangent OptionsBreak Anchor Tangents.

Note

Tangent can also be broken in the Bezier Curve Tool with the Ctrl key by dragging
a tangent.

To smooth a tangent:

1. Select the tangent.

2. Press the Shift key and right-click, the Marking Menu appears.

3. To align the selected tangent, select Smooth Anchor Tangents from the Marking Menu
as shown in Figure 2.45.

Figure 2.45: Smooth Anchor Tangents

4. Maya straightens the tangents based on what is selected. If one tangent is moved, the other
moves with it to preserve their alignment.

5. Alternatively, the user can select the tangent.

6. Select the Edit CurvesBezier CurvesTangent OptionsSmooth Anchor Tangents.

 Weight/Even Tangents

To weight a set of tangents:

1. Select the tangents of a curve.

2. Press the Shift key and right-click, the Marking Menu will appear.
3. Select Uneven Anchor Tangents from the Marking Menu.

4. Select the Move Tool .

5. Select either of the tangents and move it away from the anchor using the Manipulator.

6. When one tangent is moved away from the anchor, the opposite tangent is unaffected.

7. Alternatively, select a tangent.

8. Select the Edit CurvesBezier CurvesTangent OptionsUneven Anchor Tangents as
shown in Figure 2.46.

Figure 2.46: Uneven Anchor Tangents

To even tangents:

1. Select the tangent to align.

2. Press the Shift key and right-click, the Marking Menu appears.

3. Select Even Anchor Tangents from the Marking Menu as shown in Figure 2.47.

Figure 2.47: Even Anchor Tangents

 4. The tangents align to the same distance from the anchor.

5. Alternatively, select a tangent.

6. Select the Edit CurvesBezier CurvesTangent OptionsEven Anchor Tangents.

 Convert a Curve between Bezier and NURBS

1. Select the Bezier Curve.

2. Press the Shift key and right-click, the Marking Menu appears.

3. Select Convert Bezier to NURBS from the Marking Menu as shown in Figure 2.48.

Figure 2.48: Conversion of NURBS to Bezier

4. Bezier Curve is converted to NURBS Curve.

Note

To convert a NURBS Curve to Bezier Curve, repeat the procedure and select NURBS to
Bezier.

2.5 Trimming
2.5.1 Trimming of NURBS Surfaces

Trimming allows visually cutting or dividing a surface by using a special type of curve called curve on
surface. A curve on surface can be created using a variety of techniques.

NURBS surfaces are intrinsically four-sided patches that do not allow the creation of holes in the same
fashion as polygon surface types.
2.5.2 NURBS Booleans

Boolean provide a faster workflow by trimming multiple surfaces at once versus having to intersect
each surface separately. They are a feature that can be used to trim multiple NURBS surfaces in one
operation.

Boolean operations are actions that trim surfaces to create the appearance of a union, intersection, or
subtraction between two objects.

There are three types of Booleans in Maya:

1. Union Booleans trims the surfaces so they appear to be merged.
2. Intersections Booleans trims the surfaces so that the volume of the second surface appears
to be subtracted from the first.
3. Difference Booleans trims the surfaces so that only their shared volume remains as
shown in Figure 2.49.

Figure 2.49: Different Booleans Surfaces

4. Select the Edit NURBSBooleansUnion Tool.

5. Select all the options.

6. All the images are displayed. Refer to Figures 2.50 and 2.51.

Figure 2.50: Steps involved in Union Tool

 Figure 2.51: Union Tool

The Union Result is displayed as shown in Figure 2.52.

Figure 2.52: Union Result

Change Boolean operation from the history as shown in Figure 2.53. Figures 2.54 to 2.56 shows
the steps involved and final result of Boolean operation.

Figure 2.53: Changing Boolean from History

 Figure 2.54: Result of Difference Boolean

Figure 2.55: Result of Intersection Boolean

Figure 2.56: Another Result of Difference Boolean

2.5.3 Concept of Curves-on-surface

Curves on Surface are special curves that are primarily used to define the region on a NURBS
surface for trimming. Curves on Surface reside in the UV space of a surface, rather than in the XYZ
space of the scene.
To create a curve on a NURBS surface, make the NURBS surface a ’LIVE OBJECT’ by going into
’LIVE MODE’ inside Maya and then draw curve on the Surface.
There are two ways to go to LIVE MODE to make your object a LIVE OBJECT:

1. Select the surface to make live.

2. Select Main menuModifyMake Live. Refer to Figure 2.57.

Figure 2.57: Live Mesh created from Modify Menu

3. The second way to making live the surface is by using the shortcut key on the status menu
bar and on the Snap menu icon there is a red colored magnet shaped icon.

4. Once the surface to make live is selected, click the icon as shown in Figure 2.58.

Figure 2.58: Live Mesh

 5. The live object is displayed as shown in Figures 2.59 and 2.60.

Figure 2.59: Live Mesh Selection

Figure 2.60: Live Mesh Display

2.5.4 How to Create a Curve-on-surface

There are several techniques for creating a Curve-on Surface:

 Draw a curve on surface by placing edit points.
 Project a curve into a surface along the view direction.
 Project a curve into a surface along the surface’s normal.
 Intersect two surfaces to create curves on surface.

To draw curves on surface by placing edit points:

1. Select the surface to draw a curve-on surface.

2. In the status line, click the ’Make the selected object live’ icon again.

3. Select the CreateCV Curve Tool or CreateEP Curve Tool.

4. Draw a curve on the live surface.

5. After finishing a curve, click the ’Make the selected object live’ icon again.

Note

Select the objects in a view pointing in the direction you want to project. For example, if
you want to project along Y, select the objects in the top view.
To project a curve into a surface along the view direction:

1. Select a surface and one or more curves.

2. Select the Edit NURBSProject curve on surface . Set Project Along to Active
View as shown in Figure 2.61.

Figure 2.61: Live Display

3. Click the Project.

To project a curve into a surface along the surface’s normals:

1. Select a surface and one or more curves.

2. Select the Edit NURBSProject Curve on Surface , and set Project Along to Active
View.

3. Click the Project. Refer to Figure 2.62.

Figure 2.62: Project Curve

To insert two surfaces to create curves on surface:

1. Select two surfaces.
 2. Select the Edit NURBSIntersect Surfaces as shown in Figure 2.63.

Figure 2.63: Intersect Surfaces

2.5.5 How to Trim or Untrim a NURBS Surface

To trim a surface:
1. Select the Edit NURBSTrim Tool.

2. Click the surface to trim.

To untrim a surface:

1. Select the surface or surfaces to untrim.

2. Select the Edit NURBSUntrim Surfaces.

2.6 Stitching
2.6.1 Stitching Multiple Surfaces Together

To stitch surfaces together:

1. Model the surfaces so that adjacent surface edges and corners are touching. Avoid
overlapping corners with other surfaces. Refer to Figure 2.64.
Figure 2.64: Surfaces to Stitch
2. Select the surface as shown in Figure 2.65.

Figure 2.65: Global Stitch Location

3. Select the Edit NURBSStitchGlobal Stitch .

4. Global Stitch Options window is displayed as shown in Figure 2.66.

Figure 2.66: Global Stitch Options Window

In this box, select all the options:
 The Stitch Corner options specify where a surface corner is stitched to an adjacent corner or
surface edge.
 Stitch CornersOFF option for no explicit corner stitching.
 Stitch CornersCloser Point option allows to stitch a corner to the closest point on the edge.
 Stitch CornersClosest Knot option allows to stitch a corner to the closest knot on the
edge.
 Stitch EdgeOFF option for no explicit edge stitching.
 Stitch EdgeClosest Point option allows to stitch the closest point on the edges while
ignoring parameterization differences between the edges.
 Stitch EdgeMatch Params option allows to stitch points on the surface edges that have
equivalent UV increments along each edge.
 Stitch SmoothnessTangents option allows to bend isoparms so they are perpendicular
where they meet the stitched edge.
 Stitch SmoothnessNormals option does not require the isoparms to be perpendicular,
though the surfaces join smoothly.
 Stitch SmoothnessOFF option allows to turn off smoothing and does not ensure tangency
of the edge regions.
 Select Stitch Partial Edge option for taking extra processing time.

Note

Do not turn ON Stitch Partial Edge when not required.

 Select Max Separation value, high value might stitch more points than required.
 Select Modification Resistance value.
 Select Sampling Density value.
 Keep Original option allows re-stitching of a new surface with different option settings, when
you are not satisfied with the result.
 Click the Global Stitch button to stitch the surface. Refer to Figure 2.67.
 Figure 2.67: Global Stitch Surfaces

2.6.2 Manually Stitch Surface Edges Together

To stitch surface edges:

1. Select Surfaces.
2. Right-click the curve and select isoparm from the Marking Menu as shown in Figure 2.68.

Figure 2.68: Select Isoparms

 3. Select the Edit NURBSStitchStitch Edges Tool.

4. Now, the Surfaces are stitched as shown in Figure 2.69.

Figure 2.69: Stitch Tool Output

2.6.3 Manually Stitch Surface Points Together

To stitch surfaces together at individual points:

1. Select the points on the First Surface.

2. Select the points on the Second Surface.
3. Select the Edit NURBSStitchStitch Surface Points.

4. Stitch Surface Points Options box is displayed as shown in Figure 2.70.

Figure 2.70: Stitch Surface Points Options

In this option box, select the appearances:

 Keep original option allows to move the resulting surface if not satisfied with the result, so
that a new surface can be re-stitched with different option setting.
 Select Assign equal weights option to weighted average of the selected points is
performed both in position and normal using an average NURBS surface point node.
 Select Cascade stitch node option to stitch operation, it ignores any prior stitch operation on
the surface.
 Click the Stitch button.
2.7 Sculpting Surface Meshes
2.7.1 Soft Selection

Soft Selection works on both NURBS surfaces and NURBS curves. This option allows sculpting
geometry in an organic way. It’s useful for sculpting a smooth object without having to transform each
CV manually.
Soft Selection works by maintaining a falloff from the selected components to the components around
your selection to create smooth transitions.

2.7.2 Sculpt Geometry Tool

The sculpt geometry tool is based on the Maya Artisan tools. This option allows to manually sculpt
NURBS polygons, or subdivision surfaces quickly with the stroke of a brush. Paint the surface mesh
using the sculpt geometry tool to push or pull CV’s or Vertices to achieve the required shape.

2.7.3 Streamline Retopology Toolset

Let us study about the tools available in the Streamline Retopology Toolset in detail.

 Relax Brush

The Relax Brush tool is used to smoothen the poly-mesh flow. It helps to maintain an even and
smooth mesh flow across the model. The relax brush can be used for the complete model or the
selected mesh. Refer to figure 2.71.

Perform the following steps to use the Relax Brush:

 Select the object.

 Press and hold Shift button.
 Click and hold the left mouse button
 Hover the mouse pointer over the selected object or area that has to be relaxed.
 Figure 2.71: Relax Brush Tool

Note

Relax brush is primarily useful for uneven surfaces such as rock, skin, ground, and so on.

 Extend Option

The Extend tool option can be used to extend the poly-mesh. The Edges, Borders, Edge loop, or
vertices can be extended using extend option from the toolbox. Refer to figure 2.72.

Perform the following steps to use the Extend option:

 Select the object (drawn on the live mesh).
 Switch ON the Quad Draw tool.
 Select the edge, vertices that have to be extended.
 Press and hold Tab button.

 Drag the Edge to which it has to be extended.

 Figure 2.72: Extend Tool

Note

The Extend option can be used as replacement for the Extrude Edge tool.

 Auto-weld Option

The edges, vertices can be welded using the Auto-weld option from the toolbox. Auto-weld
option welds the vertices and edges that are in close proximity. Refer to figure 2.73.

Perform the following steps to use the Auto-weld option:

 Select the edge, vertices that the user desires to weld.
 Move the edge, vertices near the other edge or vertices that the user desires to weld with.
 Deselect the object and edge, vertices are merged (weld).
 Figure 2.73: Auto-weld Tool

Note

The Auto-weld option can be used as replacement for the Merge Edge, and Merge Vertices
tool.

 Make Live Option

The poly-mesh can be made live using Make Live option. After the object (poly-mesh) is made
live, the vertices on the object can be snapped. The Quad Draw tool can be used to draw the
polygons on the object.

Perform the following steps to use the Make Live option:

 Select the object that has to be made live.
 Go to Modify  Make Live (as shown in Figure 2.74).
 Figure 2.74: Make Live Option 1

Or
 Select the object.
 Press the magnet sign (as shown in Figure 2.75).
 Figure 2.75: Make Live Option 2

 The name of live object is displayed in the box (as shown in Figure 2.76).

Figure 2.76: Box Displaying Live Poly Surface

After making the object live, the vertices on the object can be snapped through
Mesh Tools Quad Draw tool.

Note

The Make Live option proves to be useful while working on Low poly models and
Retopology work.
2.8 Summary
In this session, NURBS Modeling, you learned that:
 Subdivision of the surface in to too many isoparms can create difficulty in smoothly
changing the shape spread across broad region.
 More number of isoparms means more number of CVs which leads to slower processing
time when you work with the surface. Thus, it is recommended to establish a proper
balance between the CVs and the area across which it is spread.
 The Erase operation in the Sculpt Geometry Tool can clear the effect of the other option only
up to the last time it saved the scene or till the time it clicked the Update button to the right of
Erase Surface.
 The Radius (U) of the Sculpt Geometry Tool can also be changed using the Hot key. When
using the Sculpt Geometry Tool if you select the tool without selecting the surface, right-click
the surface to be selected and select the Select option from the marking option.
2.9 Exercise
1. NURBS stands for Non-Uniform Relational Basic Splines.

True
False

2. The tool functionality provided under the Surfaces tab empowers the user to
create surface for the circular shaped body.

Sculpt Tool

Revolve Tool
CV Curve Tool

Transformation Tool

3. The tool creates a surface by spinning the profile curve around the axis. Hence,
the first step to create the revolve surface is to create a profile curve in 2D view.

CV Curve Tool

Transformation Tool

Sculpt Tool

Revolve Tool

4. The history tree of the model called as .

Sculpt Geometry Tool

Outliner

Revolve Tool
Layer Editor
 Se ssi on 3
Polygon Modeling
Learning Outcomes
In this session, you will learn to:
 Explain what is polygon
 Explain polygon modeling
 Explain polygon primitives
 Explain components of polygon
 Explain polygon shape nodes
 Explain attributes manipulating polygons to make desired shapes
 Explain good polygon workflow
 Explain maintaining line-flow
 Explain how to avoid n-gon’s in modeling

3.1 Introduction to Polygon

3.1.1 Introduction
Polygons are shapes of three or more straight-sides defined by three-dimensional points and the
straight lines that connect them.
Polygon surfaces are a connection of three-or-more sided flat surfaces called faces that get
connected together to create a poly mesh. Polygon meshes are comprised of vertices, faces, and
edges.

When a polygon mesh is reduced, its edges can be set to appear hard or smooth. Thus,
polygons can easily represent both flat as well as curved 3D forms.

Polygonal surfaces have a variety of applications and are the preferred surface type for many 3D
applications including interactive games and Web development applications.

3.1.2 Advantages and Disadvantages of Polygon Modeling

There are certain advantages and disadvantages of Polygon modeling explained in Table 3.1.

Advantages Disadvantages

Since polygons are made up of 3 or Polygons are incapable of accurately

more sided geometry, it’s easy to shape representing curved surfaces, so a large
them to a desired shape. number of them must be used to
approximate curves being rendered.

Polygon models have UV co-ordinates In other kind of meshes, like NURBS the
build into them for easier texture geometry is calculated through the
placement. polylines themselves.
 Advantages Disadvantages

To get a final smooth output from The use of complex models has a cost in
polygon the user needs to add divisions lowered speed.
to make hard edged polygon smoother.

After modeling is done, the character Each polygon must be converted and
needs to be unwrapped which is a tedious displayed, regardless of size, and there
process, to get the right textures. are a large number of models on the
screen at any given time displayed.

Table 3.1: Advantages and Disadvantages of Polygon Modeling

3.2 Polygon Modeling

Polygonal surfaces can be described with the smallest amount of data of all the 3D surface types,
and therefore, can be reduced quickly, delivering increased speed and interactive performance to the
end user in games and other applications.

Polygon surfaces are most commonly used surfaced types for 3D applications such as games,
movies, and other animation applications.

Figure 3.1 illustrates the path in Maya to Polygon.

Figure 3.1: Polygon Capture

 Polygon Modeling Preferences
Before the user starts working on Polygon modeling there are some default settings which the user
can choose to change to work better through modeling.

Following are the steps to edit the settings:

1. Select WindowsSettings/PreferencesPreferences. Figure 3.2 illustrates the Settings
option.
 Figure 3.2: Settings/Preferences

2. The Maya user preferences window appears. Figure 3.3 illustrates the Polygons preferences
option.

Figure 3.3: Polygons Option

3. In the Categories section of the Preferences window, select Polygons. Figure 3.4 illustrates
the Polygon Display settings.
 Figure 3.4: Polygon Display

4. In the Polygon Display settings, set the following:

Border Edges: On

Edge width: 5
5. Click Save.

6. The borders are displayed on the polygon meshes.

7. In the Categories section of the Preferences window, choose Selection. Figure 3.5 illustrates
the Selection option in the Categories section.

Figure 3.5: Selection Option

 8. In the Polygon Selection settings, set Select faces with: to Whole face as illustrated in
Figure 3.5. The Whole face setting allows the user to select polygon faces by clicking
anywhere on the face.
9. Click Save.

10. The Whole face setting is changed to Polygon setting if the user clicks anywhere on the model
face. Figure 3.6 illustrates the Interactive Creative option which needs to be unchecked by
the user.

Figure 3.6: Interactive Creative Option

11. Turn off the Interactive Creation option by selecting CreatePolygon

PrimitivesInteractive Creation.
12. Uncheck Interactive Creative option.

 Polygon Modeling Primitives

The user can create 3D geometric shapes called primitives in Maya. Primitives can be used as a
starting point for 3D modeling. The primitive create option are located in the Create menu. Figure
3.7 illustrates the path to create Polygon primitive.

Figure 3.7: Polygon Primitive

 The user can choose the option of the modeling that is to be used for example, Sphere, Cube,
Cylinder, Circle, and so on.

 Polygon Modeling Components

Following are the steps to display the polygon components:
1. Select CreatePolygon PrimitivesSphere.

2. Right-click the polygon. Figure 3.8 illustrates the Polygon components menu.

Figure 3.8: Polygon Components

 3. The user can accordingly choose the preferred options from the menu.
4. Shift+right-click allows the user to choose the various Polygon creation option. Figure 3.9
displays the various Polygon creation options.

Figure 3.9: Polygon Creation Options

3.3 Polygon Primitives

Polygon primitives are the pre-defined shapes and objects that are created in Maya. Primitives which
can be used as a starting point in Maya. Refer to Figure 3.7 for Polygon Primitive option.

Different ways to create Polygon Primitives are given further.

3.3.1 Create Polygon Primitives

The user can use and create polygon models using the Interactive Creation feature option as
displayed in Figure 3.6. The primitive option are set by selecting CreatePolygon
PrimitivesPrimitive ShapeOption box .

The Exit on Completion option automatically exits the primitive option tool once the primitive is
created. The user can uncheck the option if multiple primitives are to be created.

3.3.2 Create Polygon Primitives Using the Create Menu

Creating primitives from the Create menu allows the user to specify the primitive’s attributes before
it is created. Using this creates a primitive at the X, Y, and Z origin. Following are the step-by-step
instructions to create Polygon primitive from the Create menu:

1. Uncheck the Interactive Creation option from CreatePolygon Primitives.

 2. Select CreatePolygon Primitives and select the primitive option box from the list of
primitives (For example, cone, sphere, cone, and so on).
3. In the primitive tools settings window, edit the primitives as required. The user can set
attributes that specify the radius, scale, subdivisions that are created with the primitive.
4. Click Create.

5. The primitive object appears at the X, Y, and Z origin of the scene view.

Note

The user can modify a primitive’s attributes after it is created using either the Channel Box
or Attribute Editor.

3.3.3 Create Polygon Primitives Using Shelf

Shelf is located directly below the Status Line. Shelf is used for storing various tools and items
that are used frequently or are customized as per the user’s need. Refer to Figure 3.10 for Shelf.

Figure 3.10: Shelf

Following are the steps to create the polygon primitive on Shelf:

1. On Shelf, select the Polygon tab.

2. Click a polygon primitive icon.

3. Based on the user’s settings, the primitives will either appear at the origin, or the user will be
prompted to click and drag to create the own primitive on the screen.

3.4 Components of Polygon

Working with components is an important part of the workflow when working in Maya. Components
describe objects at a more detailed level.
3.4.1 Polygon Vertices

Polygon vertices are the regions that are manually created by the user using Create Polygon Tool
option. Following are the steps to create Polygon vertices using Create Polygon Tool:

1. To use polygon vertices select MeshCreate Polygon Tool. Figure 3.11 illustrates the
vertices of the polygon tool.
 Figure 3.11: Path to Create Polygon Vertices

2. On the object, place the cursor where the vertex is to be created. Figure 3.12 illustrates the
location of the model where the user wants the vertex or vertices to be created.

Figure 3.12: Creation of Vertex

3. The user can set the following options in the tool setting editor. If the Tool Settings box
is not visible on the screen, select WindowsSettings/PreferenceTool Settings.
 4. The Tool Settings box will be displayed. Figure 3.13 illustrates the Tool Settings box.

Figure 3.13: Tool Settings Dialog Box

5. Check the Limit the number of points option.

6. Enter Limit points to: 6.

7. This will specify that the closed polygon model will be created once six vertices are created in
the scene.
8. Press q to quit the Create the Polygon option, when the model is complete.

3.4.2 Polygon Edges

The user can crease or harden the edges on the polygon meshes. Hardening or creasing the edges
allows the user to enhance the models and give it a realistic look.
 To Display Hard/Soft Edges of the Mesh

Following are the steps to harden or crease the models:

1. Right-click the low resolution mesh and set the selection type to Object Mode and
then select the mesh. Figure 3.14 illustrates the Object Mode option.

Figure 3.14: Object Mode

2. Select DisplayPolygonSoft/Hard Edges. Figure 3.15 illustrates the Polygon
Soft/Hard Edges option.

Figure 3.15: Polygon Hard/Soft Edges

3. Wireframe on shaded is not a default property in Maya. Switch on the shading

option and select the wireframe that is to be shaded. Figure 3.15 illustrates the
difference between a 1st hammer model which is not smooth, plain model.
4. The 2nd hammer model illustrates a soften hammer edge, shown in Normal menu.

5. The 3rd hammer has been sub-divided to create 2nd hammer smooth model, it’s done
by going into Mesh smooth option under polygon module.

6. The wireframe mesh on the model is updated to display both dashed and solid lines.
The dashed lines indicate edges that are set to display as hard shaded. The reason
some of the edges are hard and some are soft are due to some settings set for the
polygon tools.
  To Soften Edges on the Mesh

1. Select NormalSoften Edge.

2. All of the edges on the model mesh are set to be shaded in a softened fashion. The
wireframe mesh updates to display as dashed lines indicating that all of the edges are
set to be soft shaded. The user may not notice any immediate effect on the
smoothed high resolution version, but it is important that this step is performed before
proceeding to harden specific edges on this model. Figure 3.16 illustrates the
Softened Edges option.

Figure 3.16: Polygon Softened Edges

3. The low resolution version of the image displays only a dashed wireframe when the
softened edge command is set.

3.4.3 Polygon Faces

A face is a closed set of edges, in which a triangle face has three edges, and a quad face has four
edges. A polygon is a set of faces. In Maya, polygons and faces are equivalent. Most rendering
hardware support only 3-sided or 4-sided faces, so polygons are represented as multiple faces.
Mathematically a polygonal mesh may be considered an unstructured grid, or undirected graph, with
additional properties of geometry, shape, and topology. Figure 3.17 illustrates the Polygon face
feature.

Figure 3.17: Polygon Faces

3.4.4 Polygon Vertices, Edges, and Faces

In polygon, a vertex (plural vertices) is the point that describes the corners or intersections of two edges.
Figure 3.18 illustrates the feature of Polygon vertices.

Figure 3.18: Polygon Vertices

The polygons are plane geometrical shapes that are bounded by a closed path, contain finite
sequence of straight or segments. These segments are called its edges. Figure 3.19 illustrates the
feature of Polygon edges.

A face or a polygon is a close three sided or four sided geometry. A polygon is a set of faces.

Figure 3.19: Polygon Edges

3.4.5 UV Texture Coordinates for a Polygon Mesh

The process of describing the 3D process in model space with letters X, Y, and Z is called UV mapping. U
and V letters are normally used to denote 2D mesh. UV texturing allows the polygons to make up a
3D image to be painted with a color from an image. The image is called a UV Texture Map. Figure
3.20 illustrates the image of the UV Texture Map.

Figure 3.20: UV Texture Map

3.4.6. Enhanced UV Toolset

The Enhanced UV toolset facilitates unwrapping of the UVs of complex mesh. Perform the following
steps to use the toolset:
 Select the object and apply any projection to the object.
 Define the edges that will be used as a seem for the object.
 Select the new unfold option from the option box.

 Go to UV Texture Editor Window PolygonsUnfold (as shown in Figure 3.21).

Figure 3.21: Unfold 3D Tool

This method can be used to obtain enhanced result on the large UV shell area. This method binds the
adjacent faces together helps obtain the desired result.
The Optimize option is used to untangle the UVs on a shell. It also helps to evenly distribute space
between the UV coordinates on a UV shell, as shown in Figure 3.22.

Figure 3.22: Optimize UV Tool

As shown in Figure 3.23, the UV distortion shader can be used to select the UVs that are
compressed or stretched. Blue color represents compressed UVs, Red color represents stretched
UVs, and white color represents optimal or evenly spread UVs, as shown in Figure 3.24.

Figure 3.23: Display UV Distortion Figure 3.24: Display UV Distortion - Example

As shown in Figure 3.25, the shader Display checkered tiles enables the user to check if the UVs are
spread evenly along the surface. The user can nudge the UV shells into new UV tile while working
with multiple UV shells using the new nudge control, as shown in Figure 3.26. The user can also use
the Alt+arrow key as a hotkey for nudge control.

Figure 3.25: Display Checkered Tiles Figure 3.26: Nudge Control

The Create UV Shell command enables the user to create a UV shell. Select a UV and then right-click
and select Create UV Shell option, as shown in Figure 3.27

Figure 3.27: Create UV Shell Tool

The Toggle Border Edge tool can be used to identify the shared border edges. The toggle shell
border edge tool can be accessed using the hotkey Shift+RMB and then selecting the toggle shell
border, as shown in Figure 3.28.

Figure 3.28: Toggle Shell Borders

3.5 Polygon Nodes

Node is used to create an object. A created node records the option that created the object, a transform
node records how the object is moved, rotated and scaled and shape node stores the position of the
object control points. Every node is created with some attributes. The user can also add his own
attributes to any node to store information.
3.5.1 blendColorSets

When two or more color sets are blended together a blendColorSets node is created. This node can
be accessed from Channel Box or Attribute Editor.

3.5.2 Tangent Space

The tangent space can be set and controlled by the user on how it is to be created. Its attributes are
set within the tangent space section on the PolyShape node for the mesh.

3.5.3 Smooth Mesh

The display of polygon mesh on the screen is controlled by the smooth mesh feature. The mesh
can be either displayed smoothed, unsmoothed or in both modes simultaneously.

3.6 Polygon Workflow

3.6.1 Polygon Workflow

It is very important that the modeler understands the topics that would come before getting a perfect
model. Following are the steps followed to get a perfect polygon model:

1. Maintaining Line Flow

2. Avoiding Ngon’s

3. Clean Polygon Workflow

3.7 Maintaining Line-Flow and Ngon’s in Modeling

3.7.1 Maintaining Line-Flow

Maintaining a good line-flow is the most important part while modeling in Maya using Polygon. This
is important because later when the model reaches the texturing or rigging stage, it causes
undesired effects. Figure 3.29 illustrates an example of good and bad line-flow.

Figure 3.29: Good and Bad Line-flow

3.7.2 N-gon’s in Modeling

N-gon is a polygon with more than four sides. This should be avoided as it can create many problems
while creating a 3D model. Avoiding n-gon comes under the line-flow maintenance. Figure 3.30
illustrates an example of n-gon and without an n-gon polygon.
 Figure 3.30: With and without an N-gon Polygon

3.7.3 Enhanced Polygonal Modeling

3D provides an improved and advanced polygonal modeling workflow for the users. Significant
enhancements have been made in 3D Modeling. There are some general enhancements that such as
sophisticated manipulators through which specific axis planes can be accessed. The manipulator can
be used to move, scale and manipulate the objects in specific planes in 3D.

All the menu sets are rearranged depending on the components and the operation type. Users can
find all their tools in one place. Different reflections and soft selections can be made in 3D. Reflection
supports all the common polygonal tasks. The users can use reflection with selection, and can also
extrude by reflection in 3D. Reflection supports topological symmetry.

User can add subdivisions to the object using multi cut tool, multi cut tool helps the user add points on
a surface without any restriction such as mesh and supporting edges. All the menu and tools related
to multi cut tool can be accessed through the marking menu by pressing Ctrl+Shift+RMB.

3D offers improved and enhanced multi cut preview which facilitates exact cutting preview-line and
tweaking of multi cut points that will be drawn on the surface. Users can customize their modeling
tools, with customizable hotkeys and also the display color options used during modeling.

Users can convert their current selection into their perimeter, using new convert selection option. Go
to SelectConvert Selection To UV perimeter OR To Edge perimeter.

3D is equipped with a sophisticated bevel algorithm. The user can use the powerful and fast Bevel
tool to bevel the edges. Select the edges and press Shift+RMB. Select bevel to use all the bevel
options. New Boolean option displays the progress bar for better Boolean operation. It also has the
Intersection classification option that enables the user to select the different types of Boolean
available for use.

Users can select normal from outliner to create holes even after completion of the Boolean operation.
They can also edit the shapes of source Boolean mesh to modify the Boolean output. Users can
blend the edges after completion of the Boolean operation by selecting edges over normal to create
holes. Users can apply reverse effect of the source Boolean object on the target Boolean object by
inverting the normals of source Boolean object. The resultant Boolean mesh has a centered pivoted
by default.
3.8 Choosing Triangles Over Quads
Triangles are generally created over a mesh flow where solving an n-gon with quads is not
possible. And some programs like real flow requires a triangle object imported from 3D application
such as Maya to be worked on. Figure 3.31 displays a Triangle model.

Figure 3.31: Triangle Model

Games use triangles as it is much easier to translate and read by a game engine. However, they
are initially modeled on quads and converted to triangles before getting an output of a game because
it calculates faster than quads. Figure 3.32 displays the Quads model.

Figure 3.32: Quads Model

Quads are important to have, to get a decent deformation during animation. Quads is good to have
as it is much neater to look at in wireframe, however, mechanical parts such as a car piston or engine
need to have a lot of quads because they do not deform like an organic model. Quads sub-divide
better than triangles do. However, there are very rare instances the user might need to go with a
triangle to get a proper deformation than quads.
3.9 Summary
In this session, Polygon Modeling, you learned that:
 Polygon surfaces are a connection of three-or-more sided flat surfaces called faces that
get connected together to create a poly mesh. Polygon meshes are comprised of vertices,
faces, and edges.
 The user can create 3D geometric shapes called primitives in Maya. Primitives can be used
as a starting point for 3D modeling. The primitive create option are located in the Create
menu.
 Polygon primitives are the pre-defined shapes and objects that are created in Maya. Primitives
and that can be used as a starting point in Maya.
 A face is a closed set of edges, in which a triangle face has three edges, and a quad face has
four edges. A polygon is a set of faces.

 In polygon a vertex (plural vertices) is the point that describes the corners or intersections of
two edges.
3.10 Exercise
1. Identify the steps followed to get a perfect polygon model.

Maintaining Line Flow

Avoiding Ngon’s

Clean Polygon Workflow

Choosing triangles

2. Polygon meshes are comprised of , , and .

Primitive, nodes, and vertices

Vertices, nodes, and primitive

Vertices, faces, and edges

Nodes, vertices, and primitive

3. Maintaining a good is the most important part while modeling in Maya using
Polygon.

N-gon

Line-flow

Polygon

Workflow

4. is a polygon with more than four sides.

NURBS

Polygon

Line flow
N-gon

5. The process of describing the 3D process in model space with letters X, Y, and Z is called UV
mapping.
True

False
 Se ssi on 4
Subdivision Modeling
Learning Outcomes
In this session, you will learn to:

 Explain an overview of subdivision surfaces

 Explain standard mode and polygon proxy mode
 Explain subdivision surface conversion
 Explain editing subdivision surfaces

4.1 Introduction to Subdivision Modeling

4.1.1 Introduction

Subdivision modeling is a combination of NURBS and polygon surface modeling. It comprises

characteristics of these and other surface types. Like NURBS, it allows the user to create smooth
organic modeling and uses relatively few control vertices. Like in polygon surfaces, the subdivision
surface allows the user to create specific details to the models. With a subdivision surface the user
can build a smooth organic object from a single primitive and not concerned about attaching or
stitching the various surfaces together as it is done in NURBS surface. Figure 4.1 displays an
example for subdivision modeling.

Figure 4.1: Subdivision Modeling

4.1.2 Standard Mode and Polygon Proxy Mode

There are two forms of modes in which the subdivision surfaces can be edited:
 Standard Mode
 Polygon Proxy Mode

 Standard Mode

The subdivision surfaces are displayed in the native form in the standard mode. The user
can increase on more details in the model in the standard mode. The user can rotate, revolve,
and scale the components and also crease the edges and vertices.

The refined components are segregated in different levels when a selected region is refined.
When the subdivision surface is first created it is displayed at the first level 0. Level 0 is the
base of the surface also known as base mesh. The higher level 1 are the finer levels where
finer details are added to the surface.

 Polygon Proxy Mode

A polygon mesh is created by the polygon proxy mode around a subdivision surface that
corresponds to the base mesh (level 0) of the subdivision surface. This mesh is a temporary
one and is used for editing the surfaces. It is automatically deleted when the user switches
back to standard mode. The polygon tools and features are used by the polygon proxy mode
to modify the base mesh of the subdivision surface.

The user can switch between standard mode and polygon proxy mode anytime while
modeling.

4.1.3. Open Subdivision Support

This is the Open Source Subdivison method that enables the user work with reconstructed
geometry representation of their highpoly model.

It is a suitable alternative method recommended over legacy Maya catmull-clark subdivision method.

Perform the following steps to use the Open Subdivison Support:

 Select the object (with multiple subdivision level).

 Go to Shape NodeSmooth Mesh.

 Check Smooth Mesh Preview (as shown in Figure 4.2).

 Figure 4.2: Smooth Mesh Preview
 After checking the Smooth Mesh Preview:
Go to Subdivision Method OpenSubdiv Catmull-Clark, as shown in Figure 4.3.

Figure 4.3: OpenSubdiv Catmull-Clark

 The Open Subdivison method can be used to view the animation of objects (with multiple
subdivision) without any lag on viewport.
 Figure 4.4: Digital Settings for Open Subdivision

 The digital settings related to Open Subdivison method is found in Shape NodeSmooth
MeshOpen Subdivison Controls (as shown in Figure 4.4).

 Open Subdivison method uses the CPU and GPU structures. It improves the viewport
performance for the meshes with higher subdivision levels.

Note

Open Subdivison method is used primarily while working with heavy polymesh.

4.2 Subdivision Surface Conversion

The user needs to create a polygonal cube before converting it to a subdivision surface to create a
foundation for the model. A polygon surface is created first and then converted to subdivision surface
to be able to edit the surface more efficiently.
4.2.1 Prepare a Polygonal Surface for Conversion to a Subdivision
Surface

Following are the steps to create a Polygon surface:

1. Select CreatePolygon PrimitivesCube.

2. Right-click the cube and hold. Figure 4.5 displays the Edit feature of polygon cube.
 Figure 4.5: Edit Feature of Polygon Cube

3. Select pCube1 tab. The Attribute Editor window is displayed. Figure 4.6 displays the
Attribute Editor window.

Figure 4.6: Attribute Editor Window

 4. Select polyCube1.

5. Enter the following values in Poly Cube History:

Width: 8

Height: 2.5

Depth: 8
6. Select Load Attributes. Figure 4.7 displays the edited polygon cube.

7. A polygon cube is created.

Figure 4.7: Edited Polygon Cube

4.2.2 Prepare a NURBS Surface for Conversion to a Subdivision Surface

There are certain NURBS surfaces that are not allowed to be created:

1. Degrees other than three cubic are not created.

2. Rational geometry (weighted CVs) is not converted.

3. Trimmed regions on a NURBS surface are not created.

4. Subdivision surfaces converted from NURBS surface will have incorrect surface normal at the
poles.

4.2.3 Convert a NURBS or Polygonal Surface to a Subdivision Surface

Following are the steps to convert a polygon cube to a subdivision cube:

1. Select ModifyConvertPolygon to Subdiv. Figure 4.8 displays Polygon to Subdiv option.
 Figure 4.8: Polygon to Subdiv

2. Select DisplaySubdiv SurfacesFine. Figure 4.9 displays the modify feature of the
subdiv surface.

Figure 4.9: Modify Subdiv Surface

3. In the Panel Menu, select ShadingSmooth Shade All. Figure 4.10 displays the Shading
option on the Panel menu.
 Figure 4.10: Shading Subdiv Surface

4. With the shading set to smooth, the user can see the surface displaying the smoothness as
shown in Figure 4.10.

Alternatively, the user can change the texture to rough as needed.

4.2.4 Convert a Subdivision Surface to Polygons

Though subdivision surfaces can be used for modeling till the completion of the project, it is
however, advised to convert it to polygon after modeling is completed. Following are the process to
convert subdivision to polygon:
1. Select the subdivision surface to convert and choose ModifyConvertSubdivision to
Polygons.

2. Click Vertices and choose the level from which the vertices are needed.

3. Click Convert.

4. The subdivision surface is converted to polygon.

4.3 Editing Subdivision Surface

Once, the subdivision surfaces are created the user should know how to edit and change the
features of these surfaces to make it error-free. Following are the various areas which can be edited
by the user. These however, vary based on the user preference.

4.3.1 How to Edit, Switch, and Apply or Remove Crease

Selected edges of the vertices can be chosen to apply a full or a partial crease to the shape of a
subdivision surface. A full crease is a hard or sharp edge created at the selected edges or a sharp
point created at the selected vertex.

4.3.2 Editing of Subdivision Surfaces Using Polygon Tools and Soft

Modification

In addition to working on a subdivision surface, the user can also modify it like a polygon mesh. While
working with the subdivision surface, the polygon proxy mode allows the user to use many editing
tools to modify and edit the subdivision surface. The user can easily switch the modes while working
on the surface.

Note

 To switch to polygon proxy mode, choose Subdivision SurfacesPolygon Proxy

Mode.
 To switch back to standard mode, choose Subdivision SurfacesStandard Mode.

Soft modification tool is an attribute that allows the user to operate a 3D geometry that would push or
pull on a piece of clay to change its form. This allows to smoothly form the surface meshes without
having to adjust each vertex manually. The Soft Modification tool is located on the Toolbox as
shown in Figure 4.11.
 Figure 4.11: Soft Modification Tool

The object can also be transformed by selecting the Transformation Tools option as shown in
Figure 4.12.

Figure 4.12: Soft Modification Tool by Selecting Transformation Tool

4.3.3 How to Display the Edited Vertices

A display mode can be set for a particular subdivision surface to display only the vertices that need
to be edited.

This allows the user to perform easily the modifications on those regions that have been previously
performed.

4.3.4 How to Convert a Subdivision Component Selection

The existing component selection can be converted to another type of component. This allows to
save time from the existing selection and then selecting the other component type. The user can
convert the selection from faces, edges, vertices, and other UVs. This way the selection can be
expanded to select additional components that surround the existing component. Figure 4.13 shows
the location where the subdivision surfaces can be converted to faces, edges, vertices, or UVs.

Figure 4.13: Subdivision Surface Conversion

4.3.5 How to Attach Subdivision Surfaces

The edges of the subdivision surface will attach only if each surface has the same number of polygon
mesh at the same level. If the surface does not have the same number of edges the objects are
grouped and the vertices and edges do not merge. To attach the subdivision surface select Subdiv
SurfacesStandard Mode in order to first convert the subdivision surface to standard mode. Once
the subdivision surface is converted to standard mode select Subdiv SurfaceAttach. The
subdivision surface gets attached.
4.3.6 How to Use Transformation Tools with Subdivision Surface
Components

In order to use the transformation tools feature to subdivision surface components select
ModifyTransformation ToolsNormal Tool on the individual vertices.

4.3.7 How to Improve Interactive Performance when Editing Subdivision

Surfaces

The user should edit the subdivision surfaces in a standard mode rather than the polygon proxy mode. To
improve the interactive performance while editing the subdivision surfaces, select
WindowSetting/PreferencePerformance Settings. The Performance Settings window is
opened. Make the required changes accordingly and the performance of the subdivision surface is
improved accordingly.

4.3.8 Cleaning Up Subdivision Surfaces

There are two ways in which the user can clean up or make changes to improvize on the subdivision
surfaces. They are as follows:

 Reduce the Number of Levels

The first way is to reduce the number of levels using the Collapse Hierarchy which
maintains the original shape of the surface but moves the edits of the subdivision surface from
fine to coarse levels making the coarse levels more thick. To collapse the subdivision level
choose Subdiv SurfacesCollapse HierarchyOption box . The Subdivision
Collapse Options window is displayed. Edit the Number of levels field and click Collapse.
The number of levels of the subdivision surfaces is reduced.
 Remove Unused Vertices from a Subdivision Surface

The user can use Clean Topology option to use any vertices that were created but not used
in the subdivision surface. Removal of the extra vertices that are not used allows to improve
the performance and also reduces the size of the file. To remove the unused vertices select
Subdiv SurfacesClean Topology.
4.4 Summary
In this session, Subdivision Modeling, you learned that:
 Subdivision modeling is a combination of NURBS and polygon surface modeling.
 Like in polygon surfaces, the subdivision surface allows the user to create specific details to
the models.
 Subdivision modeling is edited in two mode, standard and polygon proxy mode.
 The subdivision surfaces are displayed in the native form in the standard mode.
 A polygon mesh is created by the polygon proxy mode around a subdivision surface that
corresponds to the base mesh (level 0) of the subdivision surface.
4.5 Exercise
1. A combination of NURBS modeling and Polygon modeling is called .

Shape tool
Smudge Brush tool

Roughen Brush tool

Knife tool

2. The subdivision surfaces are displayed in the native form in the standard mode.

True

False

3. The first level of subdivision modeling starts from 1.

True

False

4. What are the two ways to clean up subdivision surfaces?

Reduce number of levels

Remove unused vertices from a subdivision surface

Match topology

Clean topology
 Se ssi on 5
Using Deformers for Modeling
Learning Outcomes
In this session, you will learn to:

 Explain deformer
 Explain types of deformers
 Explain how deformer brings change to the shape of an object
 Explain the deformation tools
 Explain how to edit subdivision surfaces

5.1 Introduction to Deformers

5.1.1 Introduction

Deformers are high-level tools that can be used to edit or manipulate while modeling or drive while
animating the low level components of a model. In various other software packages, the terms
modifiers and warps are referred to as deformers. Figure 5.1 displays where the deformer’s options
are located.

Figure 5.1: Deformers

5.1.2 Setting Deformers

■ Deformable Objects, Points, and Sets

A deformer can create an effect of deformation to any object that is deformable. Any object
that is defined by certain control points is a deformable object. Control points can be
NURBS Control Vertices (CVs), polygonal vertices, and lattice points. Deformers are the
 NURBS surfaces, polygon meshes, and lattices. Control points are known as points and the
control points of the deformable objects are called as deformable object points.

When a deformer is created, all the deformable objects that affect the deformer are put
into a set, called deformer set. This can be modified.

■ Nodes, History, and Deformation Order

A Web of nodes is what Maya comprises. Each node has some information and there is some
action associated with that particular information. Each node holds, receives, and provides
information by means of certain attributes. An attribute of a particular node can connect to
the attribute of another node, thus creating a Web of nodes. Maya has a tendency of creating,
connecting, evaluating, and destroying nodes. Whatever work is done in the Maya workspace
is the work of the node based architecture.

■ Dependency Graph

The representation of relationship of the connected nodes is shown in the dependency graph.
The dependency graph is a chain of nodes, a series of instructions on how the user can get
the scene starting from scratch. Each node in the dependency graph shows an action to
build or change the scene, with the final result being the scene in the current state.
The connection between creation and the editing nodes is called construction history,
because it records the history of how the scene was constructed.

■ Deformation Order

It is important to keep a track of nodes that the users use. The deformation effect provided
by a particular deformer can depend on where it is placed based on the history. The
deformation effect can depend on the order in which the deformers are created. Users
can apply any number deformers. A variety of effects can be given to an object with the help
of a deformer. The object’s original shape is the order in which the deformers were created.
Figure 5.2 displays the deformation order.

Figure 5.2: Deformation Order

 Note

A deformer’s node placement can be changed by changing the deformation order.

5.1.3 Modifying

The user can edit the deformer by setting the membership with the Relationship Editor. Select Edit
DeformersEdit Membership Tool. This lists all the deformer sets and the list of all the points in the
set. The user can easily edit the deformer set membership by taking the deformable object points with
the Edit Membership Tool. The user can also paint the deformer set membership by selecting Edit
DeformersPaint Set Membership Tool.

■ Point Tweaking Objects

Moving or setting keys on the individual points of an object are Point Tweaking Objects.
The objects are edited for which deformers are already created. The unexpected effects
can occur when deformers used on these objects are automatically prevented. When a
deformer is created a tweak node and a deformation node is created.

■ Displaying and Hiding Intermediate Objects

An object’s shape before deformation is an intermediate object. After an object is deformed

the user can still view its prior shape by displaying its intermediate object. The effect of
deformation can be judged by comparing the deformation object to the intermediate object.

■ Changing an Object’s Deformation Order

When more than one object is used to deform an object, the final effect of the deformation can
vary depending on the order in which the deformations occur. The deformers occur on the
object based on the order in which they are created. The deformer created first deforms the
object first and the last created deformer deforms the object last.

■ Changing Evaluation Performance

The user can change the dependency graph node evaluation performance so that the
scene refreshes after dragging it. If there are many complex objects to be deformed,
changing the evaluation performance can improve scene display.

■ Modeling with Deformers

Deformers can be used as modeling tools for shaping NURBS or polygon objects. Make
sure the deformer and the object history is deleted when modeling is finished. An object
history is also known as construction history.
 ■ Setup and Animation with Deformers

Keys can be set on any of the deformer’s key attributes. Keys can be set in the Channel Box,
the Time Slider or the Graph Editor by using the Maya Embedded Language (MEL)
commands. The user can add a new attribute by selecting ModifyAdd Attribute.

■ Editing Node Behavior to Improve Performance

The nodes are evaluated and displayed if any changes are made in the node or any nodes
history. There are more nodes in the deformed object history than an un-deformed object
history.

5.2 Types of Deformers

5.2.1 Types of Deformers Used in Modeling

Following are the different types of deformers:

■ Blend Shape Deformer

Blend shape deformers allow the user to change the shape of an object into the shape of
another object. Blend shape deformers allow the user to deform a shape of a surface into
the shape of another surface. A blend shape deformer is used to create facial setup of any
object or model.

Unlike the other deformers a blend shape deformer comprises an editor that allows controlling
the blend shapes of the object. While creating, the user can identify one or more objects whose
shape is to be blended with other object. The objects whose shapes are to be blended with
other objects are called as target objects and the objects which are to be deformed are called
base objects.

■ Lattice Deformer

Objects that are deformed with lattices are known as lattice deformers. A lattice deformer can
be edited to change the shape of the object. A structure of carrying free form deformation of
any deformable object is known as lattice. The lattice can be edited by rotating, moving,
scaling the lattice structure to create a deformation effect.

■ Cluster Deformer

A set of object points like the vertices, lattice points, which are controlled, are known as
cluster deformers. Each point can be controlled by assigning a percentage on the selected
points by rotation, movement or scaling of the cluster set. When a cluster is transformed,
the points are transformed based on the percentage specified by the user.

■ Non-Linear Deformers
 Bend Deformers

Bend deformers allow bending the deformable object in the shape of an arc. These
deformers are normally used for setting up characters as well as other models. These
 kind of deformers include handles, which are controlled on their curvature and their
effects of bending. Figure 5.3 displays an example of bend deformers.

Figure 5.3: Bend Deformers

 Flare Deformers

Flare deformers allow the user to flare or taper any deformable object along the two
axes. These deformers are used for both character setup and other types of modeling.
Flare deformers allows to control the curvature and tapering effects of any object like the
handle in an instinctive manner. Figure 5.4 displays an example of bend deformers.

Figure 5.4: Bend Deformers

 Sine Deformers
Any deformable object that allows the user to edit the object in a sine wave form is a sine
deformer. This kind of deformer can be used to control the extent, wavelength and the
curvature of the sine effects in an effective manner. Figure 5.5 displays an example of
sine deformers.

Figure 5.5: Sine Deformers

 Squash Deformers

Any deformable objects that can be squashed and stretched along an axis are called
squash deformers. These deformers can squash and stretch the object. These
 deformers are used for character as well as modeling for any object. Figure 5.6 displays
an example of squash deformers.

Figure 5.6: Squash Deformers

 Twist Deformers

Twist deformers allows the user to twist any deformable object about an axis. These
deformers allow the user to twist any object for character setup and modeling other
objects. Figure 5.7 displays an example of twist deformers.

Figure 5.7: Twist Deformers

  Wave Deformers

The wave deformer is similar to the sine deformer. These deformers create a ripple effect
and enable to control the extent, wavelength, and the wave effects as per the user’s
preference. Figure 5.8 displays an example of wave deformer.

Figure 5.8: Wave Deformer

■ Sculpt Deformers

Creation of any form of rounded deformation effect is normally done in sculpt deformation.
This kind of deformation is done for facial animation for characters such as chin, cheeks,
brow, and so on. In sculpt deformation the user can deform objects with a spherical influence
called a sculpt sphere or any NURBS object. Figure 5.9 displays an example of sculpt
deformer.

Figure 5.9: Sculpt Deformer

In sculpt deformers the user can also use the flip mode feature where the object is flipped to
the other side of the sculpt tool. The stretch mode feature is used to stretch a feature of the
object from the points of the location.

■ Soft Modification Deformers

The soft modification deformer is an adjustable fall attribute where it allows the user to use
it like a form where it is pushed or pulled like a cloth falling off or on an object. The amount of
deformation is highest or greatest at the center of the object where the effect falls off away
from the center to the sides.

■ Jiggle Deformers

Jiggle deformer allows the user to deform the object in a form of jiggle where the points on
the surface are caused to move, shake with a high speed or slow speed. For instance
 effects like a fat man’s stomach or a cockroach’s antenna moving. Normally these effects are
used for movements that lie under the skin.

■ Wire Deformers

Wire deformers are normally used for deformable objects with one or more NURBS curves.
These deformers are used for showing wire-like effects which can be either of a character like
the eyebrows or hair or lips. They are used for NURBS or polygon curves.

■ Wrinkle Deformers

A wrinkled deformer is used to create a wrinkled effect on a character or an object. These

deformers are normally used to create a cluster and wire deformer. A wrinkle deformer
combines a cluster deformer with one or more wire deformer. These are normally used to
create a detailed wrinkled effect on the object.

■ Wrap Deformers

Wrap deformers allow the user to deform objects with NURBS surfaces, curves or polygon
surfaces. With wrap deformers the user can shape deformable objects with NURBS or
polygonal objects.

5.3 Deformation Tools

Deformation tools are tools that allow the user to use different tools or features to create the object or
character in the form that is desired.
5.3.1 Cluster Deformers

Cluster deformers allow the user to control the object’s points such as CVs, vertices, or lattice points.
The user can add or reduce the percentage of the points of the objects based on how dense or thin
the thickness of the object, the movement or the scaling of the object is needed. When a cluster is
transformed the percentage selected by the user is transformed accordingly. Figure 5.10 displays
an example of cluster deformers.

Figure 5.10: Cluster Deformers

Clusters are used when the geometry is to be affected in different amounts by one or more
transformations. For instance, while showing the smiling face of a character, the cluster is created
differently according to the different smile and laugh that is to be shown of a character.

While creating a cluster deformer the user first needs to create a deformer with the current creation
actions. If the user is not sure of the options, checking before creating the deformer saves time
adjusting the attributes later.

Note

Avoid changing the deformer points after the deformer is created in order to avoid the
unexpected deformer effects.

5.3.2 Lattice

Lattice is a set of points that carry out free form deformation on any deformable object. The user can
edit the lattice by moving, scaling, and rotating the structure or lattice points. The lattice’s deformers’
features can be edited and effects can be created on the object by the same.

■ Creating Lattice Deformer

In order to create deformers select Create DeformersLattice . Figure 5.11 displays the
Lattice Options. As per the user’s preference select the Basic or Advanced tabs to set the
creation options.

Figure 5.11: Lattice Options Window

■ Reforming Deformation Effect

In order to move or rotate the deformer handle node use the Insert key. The user can also
use the compound mode by selecting Select By Compound Type option on the toolbar. The
 other way to edit the lattice deformer node is to select the object that needs to be deformed
and then select the node history in the Channel Box under Inputs. The user can also use
the Attribute Editor by selecting WindowAttribute Editor and edit the attributes
accordingly.

5.4 Summary
In this session, Using Deformers for Modeling, you learned that:
 Deformers are high-level tools that can be used to edit or manipulate while modeling or drive
while animating the low level components of a model.
 A deformer can create an effect of deformation to any object that is deformable. Any object
that is defined by certain control points is a deformable object.
 A Web of nodes is what Maya comprises.
 The representation of relationship of the connected nodes is shown in the dependency graph.
 Blend shape deformers allows the user to change the shape of an object into the
shape of another objects.
 Objects that are deformed with lattices are known as lattice deformers.

 A set of object points like the vertices, lattice points, which are controlled, are known as cluster
deformers.
5.5 Exercise
1. Which of the following is not a non-linear deformer?

Bend Deformer
Wave Deformer

Wire Deformer

Twist Deformer

2. Lattice is one of the deformation tools.

True

False

3. A set of object points like the vertices, lattice points, which are controlled, are known as .

Lattice

Cluster Deformers

Jiggle Deformers

Wire Deformer

4. Any object that is defined by certain control points is a .

Deformation tool

Deformable object

Sculpt deformers
Wave deformers
 Se ssi on 6
Organic and Inorganic Modeling
Learning Outcomes
In this session, you will learn to:

 Explain organic and inorganic modeling

 Explain features of organic and inorganic modeling
 Understand shapes, sizes, and textures of organic models
 Explain the anatomical study of organic modeling
 Understand and implement the references used for inorganic modeling

6.1 Introduction to Organic Modeling

6.1.1 Introduction

Modeling of any organic or living structure is called organic modeling. It includes a detailed structure
of the form, shape, size and the minute details that are important in the structure. For instance,
modeling of the human face would include not only the structure and shape of the face but would
also involve modeling of the veins, wrinkles, and any additional areas that need to be taken care of.
Figure 6.1 displays an example of organic modeling.

Figure 6.1: Organic Modeling

6.1.2 Features

There are certain features which are important while doing organic modeling, which are explained as
follow:
■ Base Mesh

Base mesh is an important feature which is a must while doing organic modeling. The model
should be modeled on the base mesh in order to carry out and work on detailed features of
the model.
■ Living and Existent Models

Modeling for organic models comprises only living creatures. It is very important to
understand and know the anatomy of the creatures that is to be modeled in order to give a
realistic feel and look to the model.
■ Reference Models

Reference model is essential while modeling organic models. This is to maintain consistency
from the beginning to the end of the modeling process to give a natural feel and look to the
model. Having a reference model should be a practice and must be implemented while
creating/designing any model.

6.2 Shapes of Organic Modeling

6.2.1 Modeling of Organic Models

While modeling organic characters the line flow should be kept under check all the time to avoid
undesirable effect. Organic modeling should be approached with proper reference and guides to get a
good result. Detailing must be done on a base mesh and not directly unto a new model. Its crucial to
have proper shape before detailing as all the modeling details go in vain if the shape is not correct.
Figure 6.2 displays the concept of organic modeling.

Figure 6.2: Concept of Organic Modeling

 Note

Organic modeling can be dealt in many ways as there is no particular method or rule to
follow.

6.2.2 Understanding Shapes, Sizes, Textures of Organic Models

Studying anatomy is a long process. Anatomical study of humans and animals is crucial in getting a
complete and good model. Without anatomy it is very difficult to create proper shape and size of a
character or a creature. Without proper shape and size it is difficult to make the character look
conceivable and believable.
Proportion, of a human body or an animal can be achieved only with intense study of anatomy.

Anatomy is important when it comes to placement of character’s body parts. Even for a creature,
anatomy is necessary. Figure 6.3 displays examples of shapes of organic modelling.

Figure 6.3: Shapes of Organic Modeling

Note

Organic modeling is dependent on the anatomy and proportion detail of the character.

6.3 Anatomical Study of Organic Modeling

While creating models for organic modeling, it is very important and essential to know and
understand what the anatomical study for this modeling comprises. Figure 6.4 displays the
anatomical model study for organic modelling.
 Figure 6.4: Anatomical Study of Organic Modeling

6.3.1 Anatomical Study of the Organic Modeling

The user should know the model that is going to be created. It is important that a thorough study and
understanding of the model is done before user starts to model. For instance, if the user wants
to model a cat, a thorough study of the creature, right from its shape, size, and the body movement
is done. In order to give it a realistic look even the movement of its legs to tentacles is done.
 ■ Model Sample

The user should always have a sample model of the creature that is being modeled. This
enables to highlight and not forget the minute details such as veins, leg movement, and body
color of the creature while modeling in order to give a realistic and natural look.

■ Understanding the Anatomy

It is also important for the user to understand the anatomy of the model of the living being that
is been modeled. For instance, if the user is modeling a model of a human face, he should
know and understand on what and how the anatomical study of the human face works, such
as the facial expressions, veins, and face movements, internally and externally. This will help
in creating and giving a realistic look to the model.

6.4 Introduction to Inorganic Modeling

6.4.1 Introduction

In Inorganic modeling, models are created for non-living things. These can be anything from a
chair, table to a space ship. The study and the modeling of inorganic model is more as compared
to organic since it is non-existent and man created. Figure 6.5 displays an example of inorganic
modelling.

Figure 6.5: Inorganic Modeling

Note

The concept of inorganic modeling can be from any source as long it has enough
details for the user to finish it.

The user needs to spend a lot of time while modeling for the details to make it look appealing.
Inorganic modeling is generally considered easy but longer process compared to organic modeling.
6.4.2 Features

Everything that is inanimate is considered as inorganic modeling. Inorganic modeling is the

modeling of objects that are not organic, such as cars, TVs, computers or anything that is made
from a material that is manmade and not organic such as a person, creature, a n d tree. For
instance, set dressing, asset creation, prop modeling all are covered in inorganic modeling.
Figure 6.6 displays the concept of inorganic modeling.

Figure 6.6: Concept of Inorganic Modeling

■ Base Mesh

Base mesh is very important feature which should be present while doing inorganic
modeling. The model should be modeled on the base mesh in order to carry out and work on
certain detailed features of the model.

■ Reference Models

It is very important to have a reference model while modeling for inorganic models, in order
to be consistent from the beginning to the end of the modeling process in order to give an
appealing look and feel to the model.

■ Wireframe

A wireframe is a detailed display of the object or model with a mesh around it.

The user can edit the features or get a clear picture of the object and understand the changes
that are required to be made. Figure 6.7 displays an example of how a model looks with
wireframe.
 Figure 6.7: Wireframe

6.5 Techniques Used in Inorganic Modeling

6.5.1 Generating Good Workflow for Inorganic Modeling

Maya has various tools and methods to be used in inorganic or hard surface modeling. There is
no particular method to be followed during inorganic modeling. However, there are few good practices
to keep in mind.
 Model details separately rather than trying to fit in everything into one base model.
 The model’s UV’s should be done on the fly to avoid later frustrations.
 Keep geometry’s smoothness less wherever possible.
 Giving required details to objects far way rather than filling it with details even though it is not
seen.
6.6 Reference Used for Inorganic Modeling
6.6.1 Collecting References and Implementing Them for Inorganic
Modelling

Following points can considered while referencing for inorganic modeling:

 Collecting readable reference is highly important when modeling in inorganic models, as they
can be limited without proper references.
 It is good to go around and take few pictures than limit to the Web.
 Try taking references of different samples of the models and model the best one out of it. For
instance, for modeling a computer, take samples of 2-3 sample computers and model the
best one out of them. Figure 6.8 displays the references used for inorganic modeling.

Figure 6.8: References for Inorganic Modeling

6.7 Summary
In this session, Organic and Inorganic Modeling, you learned that:
 Organic modeling is modeling of any organic or living structure which includes the detailed
structure of the form, shape, size, and the minute details which are important in that structure.
 Base mesh is very important feature which should be present while doing organic modeling.
 It is very important to understand and know the anatomy of the creatures that is to be
modeled in order to give a realistic look and feel to the model.
 It is also important for the user to understand the anatomy of the model of the living being
that is been modeled.
 Collecting readable reference is highly important when modeling in inorganic models as they
can get limited without proper references.
 Try taking references of different samples of the models and model the best one out of it.
6.8 Exercise
1. Modeling of any living thing or creature is called .

Organic Modeling
Inorganic Modeling

Polygon Modeling

NURBS Modeling

2. Modeling of any non-living thing is called .

Inorganic Modeling

Organic Modeling

Polygon Modeling

Subdivision Modeling

3. In order to get a natural and real look of the model it is necessary that the user knows the

study of the model.

Reference

Anatomical

Workflow

Polygon

4. Having samples of model is not useful while creating organic and inorganic modeling.
True

False
 Answer Key

Exercise Answers

Exercise 1.6
1. a 2. b
3. c 4. b
Exercise 2.9
1. b 2. b
3. c 4. b
Exercise 3.10
1. a 2. c
3. b 4. d
5. b
Exercise 4.5
1. b 2. b
3. a 4. a a n d b
Exercise 5.5
1. c 2. b
3. b 4. b
Exercise 6.8
1. a 2. a
3. b 4. b