Graphics Programs Reference
In-Depth Information
Taking the Kettle Further
Try creating more detail for the kettle or experimenting with your own designs. An easy
addition is a whistle cap for the spout. You can also create a matching set of teacups and
saucers with subdivision surfaces. With the skills you've acquired here, you should feel
confident to tackle an entire kitchen full of models.
Summary
In this chapter, we tackled NURBS modeling by going through the usual surfacing tools,
from lofting and revolving to bevels and boundary surfaces. Then, we explored the
implications of surface History and how surfaces adjust to changes when History is
enabled. You learned about different editing methods for NURBS surfaces, such as insert-
ing isoparms and attaching surfaces together as well as converting those surfaces to
poly meshes. You then put those lessons to work on creating a NURBS patch model for
a steam pump for the locomotive model. Also in this chapter, we introduced you to the
Artisan tool and how to use it to sculpt a NURBS surface.
This chapter covered various modeling techniques to help you break away from typical
ways of thinking. You learned how to use a lattice to adjust a polygon hand model into an
alien hand as well as how to animate a balloon pushing through a pipe. Moving on to a
starfish model, you explored subdivision modeling techniques that are based on polygon
modeling methods. Using polygons and SubDs hand-in-hand, you first made a teakettle
out of polygons and then refined the model using subdivision modeling. Finally, you
learned how to convert SubD models back to polygons.
Modeling is usually the first step of CG production. It's also almost always the first CG
procedure at which students try to excel before moving on to other aspects of CG.
Using other tools such as a lattice to shape your model is not only a fantastic way of
making gross or overall changes to a model, but also an excellent technique for adding
fine detail in certain areas.
As you've seen in this and in the previous chapter, and as you'll see in the next chap-
ter, you can accomplish a modeling task in several ways. Different workflows give you
the flexibility to choose your own modeling style. To make good choices, however, you'll
need to practice. Good modelers have a strong eye for detail and a high tolerance for work
that is repetitious. They also love assembling a complex object, and they're thrilled by the
eventual outcome.
Keep at it; model everything you get your hands and eyes on. Try the same model a
few different ways; switch between NURBS, polygons, and subdivisions to become com-
fortable with Maya's toolset. As you're doing that, stay on top of how you organize your
nodes, and keep everything named and organized: the organization of your scenes is
extremely important.
