Looking for:
Introducing autodesk maya 2016 autodesk official press pdf download free download |
(PDF) Ab4afd3f4df | Dudu Studio - . Introducing autodesk maya 2016 autodesk official press pdf download free download
Introducing autodesk maya 2016 autodesk official press pdf download free download.Introducing Autodesk Maya
Mastering Autodesk Maya 2016: Autodesk Official Press - Introducing autodesk maya 2016 autodesk official press pdf download free download
See Chapter 2 for more details. Scroll Wheel Dollies into or out of a view. ViewCube Allows you to change views in a panel easily. This works only in legacy viewports and not the new Viewport 2. In other words, the ViewCube will not display by default, so the ViewCube will go largely unused, though you may notice it in some figures and images throughout the book. When you press 4 or 5, notice that a text helper opens to tell you your current viewing mode.
These messages are called in-view messages and can be helpful as you learn the Maya workflow. Table gives a quick reference for toggling display levels. Table Levels of display detail Key Function 4 Toggles into Wireframe mode 5 Toggles into Shaded mode 6 Toggles into Textured mode 7 Toggles into Lighted mode Pressing 5 for Shaded mode lets you see your objects as solid forms and volumes. Pressing 6 for Texture mode is good for the rudimentary alignment of textures.
Look At Selection centers on the selected object or objects. Figure Lighted mode press 7 showing a single directional light shining on the sphere The Manipulators Manipulators are onscreen handles that you use to manipulate the selected object with tools such as Move or Rotate, as you saw in the solar system exercise.
Figure Using manipulators You can access the manipulators using either the icons from the Tool Box on the left of the UI or the hotkeys shown in Table This book shows all single letters as capitals in the text the same way they appear on your keyboard. Press the 5 key in one of the view panels for Shaded mode. In the previous chapter, you tried the manipulators on a sphere to get a feel for how they work.
In Chapter 2 you may have noticed the feedback feature on the Universal Manipulator. Manipulate the sphere in the view panel and take a look. The Universal Manipulator interactively shows you the movement, rotation, or scale as you manipulate the sphere. Notice the coordinates that come up and change as you move the sphere. When you rotate using this manipulator, you see the degree of change. Notice the scale values in dark gray on the three outside edges of the manipulator box; they change when you scale the sphere.
You can scale any manipulator handle. Soft Selection Soft selection is a way to select part of an object like a vertex and manipulate it so that neighboring vertices are affected as well, but in decreasing amounts. Soft selection is best described by seeing it in action. In a new scene, create a polygonal sphere at the origin. Select vertices as shown in Figure Your display now shows the sphere as cyan and pink points indicating where the vertices are.
I cover vertices in detail in the next chapter. Manipulating vertices allows you to alter the shape of the polygonal mesh. As you move your mouse over vertices, they turn into red blocks. Click a single vertex to select it. Press W for the Move tool and move the vertex away from the sphere, as shown in Figure Doing so creates a spike on the sphere. If you need to expand the window, click and drag the vertical bar on the right of the Tool Settings window to see the full width of the panel.
Select another vertex on the sphere. When you do, a gradient of color from yellow to red to black appears on your model. This gradient shows you the influence of your soft selection. Figure shows you the falloff region on the sphere. Figure The option box for the Move tool opens Tool Settings. Figure Click Soft Select. Figure Soft Select shows you the falloff gradient.
Figure Use soft selection to pull out a bulb rather than a spike. The area of influence is too large for this sphere, so set Falloff Radius from 5. This time, instead of a spike forming on the sphere, a much larger, but smooth, bulb forms out of the sphere, as shown in Figure , much like what would happen if you used the Soft Modification tool. You can further adjust the size of the falloff area by adjusting the Falloff Radius attribute in the Tool Settings.
Be sure to turn off Soft Select and close the Tool Settings window. Using soft selection on a transform tool such as Move allows you to make organic changes to your mesh easily.
Follow these steps to experience Symmetry with the Move tool: 1. Create a polygonal sphere at the origin in a new scene. The options will open just as if you selected the option box through the menu. Figure Hovering over the icon will give you some information for that tool. Double-clicking the icon will open the options for that tool. At the bottom of the Tool Settings window a. Select Object Z for now. Move your cursor over a face, and it turns blue; a face on the opposite side of the sphere turns blue as well.
Select a face on one side of the sphere, and a face on the opposite side of the sphere is also selected Figure , top. Now when you try to move that selected face, the opposite face moves as well in the opposite direction, as shown in Figure bottom. Figure The user selected the face on the left and moved it. With Symmetry turned on, the opposite face along the Z-axis is also selected and moved. You will learn to use reference images for modeling, model polygons with Bevel and Extrude tools, and then add edges with Edge Loop and Multi-Cut.
Through the process, the Layer Editor helps you stay organized, and you can hide objects from view. Figure A photo of the decorative box Notice that the box has intricately carved grooves and surface features.
These references are basically photos or drawings of your intended model, usually from three different image views of the model front, side, and top. The image reference views of the decorative box have already been created and proportioned properly. Table lists their names, along with their statistics.
The idea here is to map these photos to planes created in Maya. Toggling off the Attribute Editor displays the Channel Box. This plane is for the front image, so in the option box, set Axis to Z, Width to 0. Make sure the check box for Preserve Aspect Ratio is deselected, as shown in Figure Setting Axis to Z will place the plane properly in the front view.
Click Apply to create the plane and keep the option box open. Switch to the side view panel. Create a second plane, this time with a width of 0. Click Apply to create the plane. Switch to the top view panel. Create a third plane with a width of 1. Make sure the Preserve Aspect Ratio box is still unchecked and click Create to create the plane and close the option box.
Your planes should look like those shown in Figure Select the front image plane. Select the side plane and rename it from pPlane2 to sidePlane. Rename the top plane from pPlane3 to topPlane. You still need to place and scale these planes to align them. Take a look at Figure to size your reference planes and place them as shown.
There are two ways to position these planes. You can manually scale and move them to visually match what you see in Figure , or you can enter the exact values for scale and translation as shown in Table using the Channel Box or Attribute Editor I discuss these windows next before continuing with the box exercise. Name your work, remembering to use version numbers to keep track of your progress. You can compare your progress to boxModel Figure The three view planes are ready and waiting at the origin.
Figure Arrange the reference planes for the box model. When an object is selected in one of the main views, its name appears at the top of the Channel Box, and its channels are listed. You can edit all the channel values and rename the object itself here.
Tabs running across the top of the Attribute Editor give you access to the other nodes related to that object, as shown in Figure You can click and drag the top of the Attribute Editor to undock it from the main UI.
In the top-left panel called the Browser , click the Textures tab. This tab will be empty at first, but once you add the reference JPEGs, their icons will show here.
One by one, select boxFrontRef. The Hypershade Browser panel has tabs along the top. There will be three defaults that are always in every Maya scene lambert1, particleCloud1, and shaderGlow1 , which you should leave alone. The bottom-right panel is the Work Area and is just that: a work area for you to create and edit materials for your scene.
The top section the Browser displays all the texture and shader nodes available in your scene, again, separated by tabs. Any time you need to apply a new material to an object in your scene, you need to create a new shader. So for this example, you need to create three new shaders to assign to the reference plane objects. You can load the scene file to boxModel Create three Lambert shaders in the Hypershade by clicking three individual times on the Lambert button in the Create panel on the left side of the Hypershade window, as shown in Figure Notice that the new Lambert shaders appear up in the Browser but not in the Work Area which is disappointing!
You can also click and drag the nodes in the Work Area around to arrange them all as shown in Figure Figure Create three new Lambert materials. You will also see a sample render of that shader above the Property Editor in the Material Viewer window, as shown in Figure The nodes you see in the Work Area have colored dots on the left side, called Input Sockets. On the right, the dots are called Output Sockets. These sockets allow you to easily connect textures to shaders. Drag the rubber band to the red Input Socket of the lambert2 node, as shown in Figure This will make that JPEG image be the color of the lambert2 shader.
Rename that Lambert material to topImage. Figure Connect the Out Color socket of the reference image to the Color input of the lambert2 shader. Repeat step 4 two times to connect and rename the materials for the front and side views. Press 6 for Texture mode in the Perspective window, as shown in Figure Close the Hypershade.
Figure The images are applied. Shaders are assigned to objects to give them their visual appearance—their look and feel. You can also tear them off, or dock them into the Hypershade by clicking the top of any panel and dragging it around in the Hypershade.
The Create panel gives you access to creating a variety of render nodes shaders and textures, for example by clicking them. Once you click an icon in the Create panel, it will show up in the Browser panel above. The Browser panel After you create a render node, it appears in the Browser area as a thumbnail icon. Clicking an icon opens its settings in the Property Editor on the right of the Hypershade window. You use the MMB to drag any icon from the Browser to the Work Area, where you can work on making or editing shading networks.
The Work Area The Work Area is a free-form workspace where you can connect render nodes to form-shading networks that you can assign to your objects for rendering.
The Material Viewer The Material Viewer panel gives you an icon representing how your currently selected material looks.
This panel by default sits above the Property Editor. It is usually turned off throughout the figures in this book past this chapter to save space. It is turned on and off through the Window menu in the Hypershade. Lookdev display shows you only the more important settings, a. You will primarily use the layout shown in Figure throughout this book, where the Bins and Material Viewer panels have been turned off to maximize space.
You can turn off panels by clicking the Close icon in the upper right of any panel. You can turn any of the panels on and off by accessing the Window menu in the Hypershade, as shown in Figure , to turn them back on as floating windows. Drag the floating panel to inside the Hypershade to dock it as you prefer. You can load the scene file boxModel Select the three reference planes and toggle off the Attribute Editor to show the Channel Box. Under the Channel Box is the Layer Editor.
Click the Display tab, as shown in Figure Figure Click to create a new display layer and add the selected objects automatically. Doing so creates a new layer for these three reference planes. In the Layer Editor, double-click the name layer1 to open the Edit Layer window. Rename the layer to referenceLayer, as shown in Figure Figure Name the new display layer. Toggle the display of this layer by toggling the V icon, shown in Figure 3- Figure Toggle the visibility of the reference layer.
Save another version. Display layers allow you to easily turn on and off the display of the reference planes as you model the decorative box. Become familiar with this feature early because it will be a valuable asset when you animate complicated scenes. To change the name and color of a layer, double-click the layer to open the Edit Layer window, as shown earlier in Figure Modeling the Decorative Box Make sure you are in Texture mode press 6 so you can see the reference plane and the images on them in the persp view panel.
Figure Set the display to X-Ray mode so you can see how the poly cube and the decorative box line up. To model the box to fit the references, follow these steps: 1. Position and size the cube to roughly match the size of the reference planes for the decorative box. Now you can see the box and the reference images at the same time.
Scale and position the cube to match the size of the main part of the box, as shown in Figure This will be the base model for the decorative box. Figure Size the cube to fit the box references. Deselect Shading to display the poly cube as a wireframe while the reference planes remain displayed as textured planes. This way, you can more easily match the cube to the decorative box see Figure Figure Display the cube as a wireframe.
Figure Select Edge from the marking menu. Select the top four edges of the cube and switch to the front view, as shown in Figure You should now have something like Figure if your bevel options were at the defaults.
Because you created a bevel operation on the cube, Maya has created a new node connected to the cube. You will access this bevel node to adjust the bevel settings on the cube. Figure Select the top four edges.
Toggle on the Attribute Editor and select the new polyBevel1 tab. Using the front view panel, set Fraction so that it lines up with the rounded top of the box, at about 0.
Set Segments to In the side view panel, move the bottom-corner vertices on the cube to line up the bottom corners of the box to the reference image. In the front view panel, move the bottom-corner vertices to match the bottom of the box in the image see Figure Save your work. Click anywhere in the persp view panel to make it the active panel.
In the Status line the group of icons at the top of the screen , click the Render The Current Frame icon, as shown in Figure When you rendered your work in step 12, the Render View opened to show you a gray shaded box with the reference planes barely showing, as you can see in Figure Figure Taper the bottom of the cube.
Figure Render a frame of the box from the Status line. Figure The model thus far is rendered. Status Line Explained The Status line see Figure contains a number of important and often used icons. Figure The Status line The Status line begins with a drop-down menu that gives you access to the menu sets in Maya.
Clicking a break opens or closes sections of the Status line. Some of the most often used icons are identified here. Snapping Functions, or Snaps The icons with the magnets are called snaps. You can snap to other objects, to CVs or vertices , and to grid intersections and other locations by toggling these icons.
Table shows the various snaps. Clicking the first icon shows or toggles the Modeling Toolkit. Snap To This icon lets you snap objects along a curve. Curves Snap to This icon lets you snap to the center of a selected object. Projected Center Snap To This icon lets you snap objects to view planes. It lets you create objects such as Object Live curves directly on a surface.
You will use the Shelf in the UI to access some of the commands for the next series of steps as you continue working on the box. The Shelf runs directly under the Status line and contains an assortment of tools and commands in separate tabs, as shown in Figure Figure The Shelf You can load the scene file boxModel In the following steps, you have to add surface detail to the model so you can more adequately adjust its shape: 1.
Orient the persp view panel so you can see the bottom of the box and then select the box model. In the Shelf, click the Polygons tab. Double-click the Multi-Cut tool as shown in Figure Hands-on intermediate-to-advanced coverage of the leading 3D software Autodesk Maya is the industry-leading 3D animation and ….
Start modeling right away with this hands-on guide to learning Autodesk Maya Introducing Autodesk Maya …. Produce mind-blowing visual effects with Autodesk Maya. Previous page. Publication date. Print length.
See all details. Next page. Limited-Time Offer. Get this deal. Frequently bought together. Total price:. To see our price, add these items to your cart. Some of these items ship sooner than the others. Show details Hide details. Choose items to buy together. Get it as soon as Tuesday, Dec Get it as soon as Wednesday, Dec Customers who bought this item also bought.
Page 1 of 1 Start over Page 1 of 1. Todd Palamar. Richard Williams. Jeffrey Okun VES. Mike Mattesi. Isaac Kerlow. Tracy Fullerton. About the Author Dariush Derakhshani is an award-winning visual effects supervisor, author, and educator whose work has appeared in The Fantastic Four, Pan's Labyrinth, the South Park TV series, and countless commercials and music videos. Read more. Book description Go from 'beginner' to 'expert' with this professional, tutorial-based guide to Maya Mastering Autodesk Maya is your professional hands-on coverage to getting the most out of Maya.
Learn professional techniques used in real-world visual effects Master Dynamics, Maya Muscle, Stereo Cameras, mental ray, and more Expand your skills with advanced techniques for cloth, fur, and fluids Understand everything you need to know for the Maya certification exam Show and hide more.
Table of contents Product information. The companion website features downloadable project files that help you see how the pros do it, and the book includes real-world examples from talented users who were beginners just like you. If you want to work like the pros, Introducing Autodesk Maya is the perfect primer for getting started. Expand your skills with complete Maya mastery Mastering Autodesk Maya is the ultimate guide to the ….
❿
No comments:
Post a Comment