let's learn how to model we're going to

learn how to create a ghostbusters trap

together
[Music]
well that wasn't such a journal was it
here's some student examples of what
we're going to make welcome to maya for
beginners the modeling section this is a
free course i'm giving to you on youtube
and i'll leave it up for as long as
people are watching it but i might take
it down so go ahead and watch it while
you can this is part of a larger course
called maya for beginners where
literally tens of thousands of people
have taken this paid course and i'm
giving you this section for free and
i've even had a professor steal this
course and teach it as a university and
i've had feedback from other people tell
me that this course has helped them pass
their college level exams and projects
so if you want to take the entire thing
after watching this free section then
check out the whole course at the link
below which you can enroll in so this is
just part of the modeling course and
maya for beginners covers every kind of
section so we have modeling texturing
rigging animation and some dynamic
effects as well so this is the animation
we make together from start to finish
and the course so again if you want to
take the entire course click the link in
the description but let's get started
now with this free section so we can
learn 3d modeling together using
autodesk maya each lesson is divided up
into chapters you can click below let's
get started welcome to this first lesson
in maya where we're going to cover the
interface it's the first thing you see
when you open maya so it's good to get
familiarized with it and as you go
through this course you'll become more
and more familiar with it and
comfortable using it but it's a great
place to start just so that we know what
we're looking at because it's easy to
get intimidated when you're first
starting to learn 3d i know i was when i
opened up a program
and you see all these buttons in all of
these menus and you have no idea what's
important and what's not
and it just looks like some crazy alien
interface and where to even begin with
that so that's why i have this lesson
you can refer back to it but it's also
just
kind of to ease your fears right like
you're not going to need to learn every
single little button and menu option
here to be successful in maya and use it
i'm going to show you the things that we
use the most
and in this interface i'm going to show
you kind of how to visually categorize
these things
so you can kind of know okay i'm
probably not going to use this so
visually i don't need to worry about
kind of that chaos of all these buttons
up here so let's just kind of take an
overall look at this normally when you
open up maya you're going to get some
type of a view like this and you can see
down here that it says p-e-r-s-p
and that tells us the camera view that
we're viewing in the viewport and that's
what this middle section is here this is
called the viewport and you can see the
axis down here on the lower left so you
can see y is up
and z is kind of to the left
and
so this is where we're gonna see
everything that's happening in our scene
and down here we have a timeline for
when we start animating we can scrub
this we can play it over here we can set
it to loop back
several times by clicking that we can
turn on auto key turn that off change
the frame range
all these things but typically
when i'm using this i use it just like
this i scrub i look
and then i can change frame range
clicking and dragging that or typing in
numbers here
and these two numbers actually just mean
the kind of in and out points of what
we're looking at versus the whole scene
right so you can see we can kind of
adjust this and slide this around
but it doesn't change the first number
and that's why that's kind of the
absolute values
of the in and out of the scene but we
can temporarily change that kind of
scale so we can see
you know a smaller scale
of the
timeline so it's easier to scrub a
smaller section if it's a very big shot
or something like that and if you double
click it it will jump out to the whole
thing and maximize to the
entire length of the
frame range that you've set
so that's the bottom part and you can
see down here in the bottom left this
will be very helpful as you're starting
this will display short help tips and
tools and selections so
if i'm going up here and i don't know
what this is and i hover over it i'll
get a tool tip that will pop up but if
you're looking in the lower left as well
it'll say the same thing so if you're a
little impatient for the tool tip to pop
up you can just look in the lower left
and you can see as i
scrub my mouse through
i'm not clicking anything i'm just
hovering over everything you can see
it's showing me what each one of these
tools is named and what they do
and if you leave it over there you know
the tooltip will also pop up
so that's one quick way to figure out
what all these little things do up here
don't worry about what each one of them
does yet we'll get into that later but
just know
you know these are different tabs for
different kind of sections
and these sections are also kind of
related to
these different drop down menus here
maya tries to organize the menus into
different
disciplines so you can see modeling
rigging animation it's all separated
into their own menu sets because
typically
if you're doing one you're not really
gonna be doing the other
and in a production
normally this is kind of the linear
workflow of how
things are made anyways first you model
something then you rig it you animate it
for example you can't really animate
something that doesn't exist so you have
to model it first and if you're going to
rig it then you need to rig it before
animation so it's just kind of they try
to do it in a way an order that makes
sense for how you're going to create
things and animate things and render
things that's why these are ordered the
way they are
and
you can see that they change the menu
options up here but only after windows
you can see watch windows and as i
change the options
windows stays the same so everything
from file to windows is never going to
change
and everything after that will
and a lot of these things so i'm in the
animation tab here in the drop down menu
and i'm on the animation shelf here
and you can see there's play blast
there's different kind of options
and a lot of those things are also here
so you can see play blast is here as
well
it's the same icon it's the same tool
tip so even though there's all these
different buttons they actually just put
them in more than one place so it makes
it look more complicated than it is
because the same option is put in
several different places so for example
with playblast i could actually even
right click on the timeline down here
and it's off the screen
but if you do this on your in your maya
you can go down to the bottom you can
see an option for playblast again so
playblast for example is in three
different places so
you know this is also another reason why
not to get overwhelmed by all these
options because
visually it looks like there's a ton of
them but really they're just the same
ones
over and over in different ways
uh you know depending on how you want to
work or select options or menus or how
you want to select tools
then they try to give you as many
options as you want to really which is a
little too much typically you're only
ever going to you know use this up here
or the shelf it's whatever you're
comfortable with i find it kind of hard
to remember what each one of these icons
are
and then to wait for the
you know tool tip to pop up typically
i'm going through the menu up here
and i'm not using this as much
but
it's definitely nice to have sometimes
on a couple different things like you
know
in this course i'm probably going to
make you know a couple spheres just to
show you how things work we'll get into
manipulating things in the next lesson
but um
you know besides that i don't really use
the shelf options all that much so now
that we have this kind of shelf option
and some of these menu things covered
let's look at what's in between them we
kind of see this you know drop down menu
that we talked about then there's all
these buttons up here
and
they all do different types of things
that we're going to get into a lot later
so for right now just
know that you don't really have to worry
about any of these things
and we'll slowly cover these
later these aren't super super important
in getting started so we're just going
to skip them now for the interface don't
worry about these
so the next kind of thing we want to
look at are these different windows as
well so we have
you know a blank window here we have
blank window here they have their own
little tabs here
and then there's these tabs on the side
so again it seems like there's a ton of
options but
it's it's really not so for example with
this tab
this can actually be
you know closed down by clicking it or
double clicking it to open it back up
but if you notice here this little
button gets highlighted and
unhighlighted
as we're clicking it so it's the same
thing like we were talking about earlier
with the playblast it's just a different
way to select uh kind of menu options
here
so you can do it from up here or you can
do it from this tab
so you can see the modeling toolkit we
can go back to the attributes or we
could select over here so why this is
significant is because
if i create a sphere
this is going to tell me the name it's
going to tell me where it is in space
is it on is it visible
and the history of the object and any
inputs there are
so i can see what the inputs are
so this is kind of a quick way to see
what's the status of this object where
it is if i go to the attribute editor
i can kind of see this information
displayed a little bit differently so i
can see you know translate is all zero
if we go back to the channel box we can
see that's shown here as well it's just
the same thing shown twice like we were
talking about earlier so i want to help
simplify this stuff in your mind so you
don't feel like that
you know this is something different
than this it's not it's the same thing
it's just in a different place so just
to kind of emphasize this again i wanted
to show you something that i use quite a
bit if you hold down spacebar
you will get the hotbox menu what maya
calls the hotbox menu
and i'm holding down spacebar and i have
all of the menu options available to me
you might be able to tell that as
ordered the same exact way that the tabs
over here are ordered so modeling you
can see mesh
mesh edit mesh edit mesh mesh tools mesh
tools and so on and so on you can see
rigging animation effects and rendering
that's the exact same way this is laid
out over here so it's just a quicker way
to get to all of these menus is by
holding down space bar and i use that
quite a bit it took me a couple years to
get used to it and actually use it
because i think it does take a little
familiarity with maya to feel
comfortable with this but the sooner you
use this the quicker you'll be in maya
and i would highly encourage you to use
this instead of having to hunt around
for stuff up here and changing menus you
can get to everything right here by
holding down spacebar so that's a pretty
useful tip that i think will be useful
even more later now that we know what
the channel box is and the difference
with the attribute editor
let's jump over to this section we can
see the viewport has its own options and
if you hover over each one of these
objects you'll also get the tool tip and
so i won't go over each one of these
because
to be honest they're not very helpful as
a beginner starting out these aren't
really that important but i did want to
talk about the different views in maya
so if i don't hold down spacebar or just
tap it
you can see i get multiple views and
typically what you'll see just click
this over here is something like this
when you're just starting out in maya
so if i hit spacebar again with my mouse
just hovering over a different window
i'm not clicking anything with my mouse
i can jump into those views and you can
see what the views are by the camera
name top y front z side x perspective
and so we can jump between different
perspective views if we need to see
something top down and modeling we can
do that
so that's one quick way to divide up the
screen as well
so if we wanted to divide the screen in
a different way we can go to panels
layouts
and we can say two panes side by side
and that's what i had earlier that you
saw
because this is the way i like to
animate sometimes so
i can get back to the perspective view
just by hitting spacebar and these kind
of buttons over here just kind of like
shortcuts
to these different modes as well
instead of hitting spacebar you can kind
of jump through
and
one of the last things i want to talk
about is the outliner and the outliner
you're going to have open and spend a
lot of time in because it's basically a
table of contents of what's in your
scene you can see that we have these
different cameras that we saw earlier
when we were in the kind of four view
setup
and they're all gray because they're
hidden we can't actually see them in the
interface
so we can see that the psphere1
and that's one way that we can select
this object or we can select it just by
clicking it
left mouse clicking
so that's kind of two ways to select
things either
either through the outliner or through
the viewport
so that is a quick rundown on
the interface i hope it got you a little
more familiarized with what you're
looking at when you open up maya it's
not as intimidating as it seems
and if you follow along with this course
you will just pick up these things and
i'm so that i won't have to walk through
each little button kind of in a dry way
we'll take a project-based approach so
that you'll get more familiar with the
interface as we go along so thanks for
watching and i'll see in the next lesson
where we will briefly cover manipulators
and
how to move stuff around in maya thanks
for watching welcome back and let's
quickly cover how to move things around
in maya there's a couple things to
understand especially in 3d that's
important and so let's jump right in and
cover that from the previous lesson i
still have the sphere here if you don't
have that i can just delete that and we
can go up here to this polygon sphere
and click that you can also get to it by
going to create
polygon primitives and sphere one other
thing that's kind of fun with these
menus is you can actually tear them off
so you can see there's this little
option here if i hover my mouse just
above this and most menus have this this
one has it you know most all of these
menus have this little option here so if
i knew i was going to make a lot of
primitives a lot of spheres or something
just as an example i can just click that
and i'll have this kind of menu torn off
so now i can just click this a bunch of
times and if i open up my outliner
windows outliner i can see i made a
bunch of spheres
we only need one so i'm going to shift
select all of those below it and hit
delete
and i'll select the sphere here i'm also
going to click and drag this outliner
and
let it hover here and let go so it'll
kind of dock it in the window here i'm
going to close this menu that i had
hovering and
no i can get back to it you know up here
if i want
now that we have the sphere you can see
that there's these kind of
squares and
different things going on here so let's
take a look the way that we manipulate
things in maya is basically through
several different tools one of which is
you may have already seen by hitting q
you can get to the select tool or you
can select it up here
it's just the cursor option i can select
the object here just by left mouse
clicking i can also select it from the
outliner here
so
we've got the object selected but now i
want to move it how do i move it i can
hit w on my keyboard to pull up the
shortcut for the manipulator i can also
select it over here you can see the move
tool is what the tooltip says and you
can see
as well that in parenthesis it says w so
we can also see the shortcut is listed
there
so
now with the sphere selected
and if you notice even with even with
the move tool selected i can select
different objects you don't always have
to have the select tool selected to
select new things you can have the move
tool selected and you can still select
stuff
so you can also click and drag to select
things in a group
so now that we have this one thing let's
move it around i can click any axis and
it'll be isolated to that axis i'll undo
that
and
you can see it's isolated because the
axis manipulator turned yellow if i
click the vertical one it turns yellow
or the z-axis it also turns yellow so
now i know no matter if my mouse is
going up and down or something weird
that it's only going to go along that
axis
but if i want to have a free movement i
can just click in the middle and move
the thing around wherever i want it
the other thing i can do is isolate on
two axes and that's what these little
squares are here that i can
you know know i'm only moving it in the
vertical and x-axis
i use a little i use these quite a bit
actually because in 3d space it's hard
to tell
where you're moving something
sometimes so you know it's hard to tell
if that's actually
vertically up or if i moved it back in
space so by selecting these you can tell
that i'm not moving it up i'm moving it
in the x and the z
on this flat plane this grid
and if you can't see this grid for some
reason it didn't default to that you can
also turn that on here or turn it off if
it's distracting that's just one of
these little options up here
so
now that we know how to move things
around let's
rotate it so we can hit e on the
keyboard and similarly we can find it
over here in this little tool box window
and you can actually turn off these
options from windows
ui elements and you can turn off the
toolbox
now you can see that disappears if you
find yourself not using those it's nice
to
turn them off and you have more screen
real estate for the viewport
but for now since we're all beginners
and we're just starting out let's leave
that up so i'll go back to the
ui elements meaning user interface and
i'll go down to toolbox and bring that
back
so
with the rotation it's very similar
that we can isolate different axes and
they turn yellow
and we can click in the middle here and
have a free form
option
one thing to keep in mind is because
we're working in 3d
watch the x-axis if i click the z-axis
and drag the red one down
now the red one
is where the green one used to be did
you see that so i just undid it so
right now the green one is kind of going
around
and
if i bring the x axis the red one down
now that's replaced it
so who's to say which axis is which now
because before i rotated it the green
one was down here the y axis but now
because i rotated z the x axis is down
here
so
this
option this kind of view that we're
seeing is based on the object right
because the object is rotating the axes
are changing
and that's something very important to
keep in mind
because that'll be important later in
animation and stuff so just keep that in
mind that because now we're in 3d
these things actually kind of matter
and
we can control them in different ways if
we hold down e which is the shortcut for
rotation if we hold down e on our
keyboard and then click
left mouse
click we can drag to
the world option
so now you can see the manipulator pop
back to have the green
going around here like it was before
even though the object is rotated so
what this is saying is we're now
rotating based on the world axes which
never change right so even when we move
an object around you can see the
manipulator itself is not changing
so we can always have the option
even if an object is rotated weird to
isolate based on the world axes we just
need to change that by holding down e
and clicking
and choosing this option
if we go back to object you can see it
still kept all those changes
and now based on the object's rotation
we can see that the axes are moving all
around
and
and so that's just something to keep in
mind for later so when we get an
animation this this will be important
and i explain later in animation why
that is important so the other thing
that just for myself i like to do is i
like to only ever stay on the channel
box unless i'm doing something very
specific because you can see this
attribute editor here you can see it
says attribute editor right here on the
side it takes up a ton of room there's
just a lot of stuff going on and we
don't need it and
so
i like to keep the channel box open
because now
we can see
the values we can zero them out we can
click and drag them and then hit zero
and zero everything out
this is way more useful when we're
moving stuff around than the attribute
editor i'm also can can slide that down
to
free up more space for the viewport
so similarly to the rotation axes being
different
the
move axes can also be different so right
now you can see even though the object
is rotated the axes are pointing
relative to the world so if we hold down
w similarly like we held down e earlier
if we hold down w and left click we get
the same option right world object
so now we can see
it's following the rotation so it's
following the object axes now so that's
just two different ways to manipulate
the same object based on its own axes or
based on the world axes
so
that's important the final thing we're
going to talk about is the scale
if you hit r or you can go over here and
click the scale button or the scale tool
and we can scale uniformly and we can
also scale on axes
and that's pretty straightforward
so we've gotten this far and we haven't
moved around anything how do we move
around
so
we have an object now let's move around
it i want to zoom into it how do i zoom
in i can mouse scroll
which i don't use that much
but the other option i have is to hold
down alt
and right click and then drag my mouse
and you can see i'm doing the same thing
i'm zooming in out
and this is why you need a three button
mouse because now if you click and hold
the middle mouse button i can pan around
and then if i
still holding alt if i
left click i can rotate around an object
so
with the combination of these three
things
i can do all sorts of
moves and and zoom in on things
and say i get way out here
and i can't really see what i'm working
on
i can click and drag and select the
thing
i can select it from the outliner and
then i can hit f
so i hit f and i jump back to the
selection that i have and now i'm free
to move around again and do all that you
can also get to that option from the
view menu here and go to view frame
selection one other thing that's very
helpful is look at selection
so for example if we're over here and
i'm rotating around
i'm not rotating around the object
anymore and why is that that's because
my center of interest is somewhere over
here and i can't rotate around the
object so if i want to rotate around the
object i can go look at selection so the
position of the camera didn't change but
now it's just rotated looking at the
selection and now i can pivot around
that object
so that's one way to help control
your camera and if your camera gets too
crazy you can always select it from here
select camera which is whatever camera
this viewport is will select it you can
also select it from the outliner because
we know it's purse you can see on here p
r s p purse perspective
and
you can see now we have all the values
here and we can just zero those out if
things got too crazy
and of course now we're inside the
sphere because we're at zero world space
and now you can see i'm rotating from
some crazy point out there i can select
my object hit f
and now i'm rotating around it and i'm
back so that's a quick introduction on
how to move scale rotate and move the
cam around thanks for watching and i'll
see the next lesson
welcome to this quick tip on how to snap
at intervals using the manipulators and
maya
so if i hold down j that's the hotkey
that's that's the the big secret here so
if i hold down j then i can get the
manipulators to snap at a certain
interval move and rotate but let's jump
a little deeper and to see how we
control that more
if i hold down j
you can see under the tool settings
which you can open over here in the top
right
the step snap options so it says
absolute and one for the move tool if i
hit e and move to the rotate tool it
says relative and 15. if i reset that
tool it'll go to absolute so
the default is probably absolute for you
and if you want it to move relative you
would have to change it here in the drop
down menu
now what what's the difference between
that
so if we already have an object that has
rotation value we can see here 38.415
whatever
and if this is set to absolute
it will
snap it to that interval of 15 of that
absolute value of 15. if we wanted it to
start at 38 and add 15 or take away 15
for every rotation we do we need to set
the step snap to relative by holding
down j and then choosing relative it
will also remember what the last thing
you chose is so every time i hit j now
it will be relative
so just remember that's what's going to
be happening and so as we rotate that we
can see it's now adding to the number we
already had that's what relative means
now the other little quick way to do
this if you don't want to go into the
tool settings i've found and have used
recently for
making sure cameras are
matching the world axis if i hold down e
and i go to gimbal mode and then i hold
down e again and go to discrete rotate
it will do a similar kind of a thing now
it's gonna it's going to be using
whatever step snap options you have here
so just keep that in mind thanks for
watching bye welcome to the first class
in 3d modeling and the reason why i've
structured it this way to have 3d
modeling at the beginning of this
complete beginner series is because
simply we need something to work with
later so we might as well learn modeling
up front at the beginning so that we can
use models later down the course
and have an understanding of what
modeling is and why it's important
so
to get going i wanted first to describe
some concepts about 3d modeling so you
can begin to understand how to approach
3d modeling
kind of from a theoretical standpoint so
that you know what tools to use and how
to approach whatever project that you
come up with in your imagination and
projects down the line
and all that kind of a thing
so let's take a look at an example that
i've created all of these scene files
that i'm working in are available to you
for downloads so this one might not be
that useful because it's pretty basic
but it's going to be made available to
you to download so you can follow along
or open it up and dissect it and see
what is inside
so i'm going to show you an example that
i made real quick so we can cover two
important concepts
hard verse organic modeling
so
when i first described this you can
probably already guess what it means
especially by looking at these two
examples
and
let me first quickly cover a couple
little tricks that i like to use in maya
viewport so we can look at this a little
better i don't know if it shows up in
your video but
the edges of all of these polygons are
not super smooth they're kind of jagged
and they're not anti-aliased as we like
to say technically so there's actually
an anti-alias button here that you can
turn on for the viewport and it is this
little one right here if i hover over it
and you can look at the bottom left and
it says multi-sample anti-aliasing and
then the tool tip will also pop up
so if we press that and you can follow
along and do this in your viewport you
can see
that this is just for us this doesn't
affect the final render or the model
itself or anything like that this is
just kind of to make it easier on our
eyes as we're using maya so i like to
turn on anti-aliasing
and i also like to turn on the ambient
occlusion because you can't really see
where these lines
and gaps intersect on this model very
well so if we turn on ambient occlusion
watch this area right here where there
should be lines popping up but we can't
see them because they're all facing the
same direction that's just how maya is
rendering it in the viewport if we turn
on ambient occlusion which is this
little button up here which is just next
to the anti-aliasing
we get ambient occlusion which basically
shows us
areas of geometry that are close
together and darkens those corners
and inset areas so now we can see that
model a little bit better now that we
have those two
kind of viewport options turned on so
back to the topic at hand hard verse
organic models and modeling and why is
this important it's important because we
need to understand how we're going to
approach a project or a model
and the tools we're going to use to
create it so let's first talk about what
hard versus organic really means so you
can kind of get an idea from these two
examples hard is kind of straight
surfaces they can be curved as well you
can see there's a cylinder here so it
has a rounded surface on that side
but uh there's patterns here
it's things um you know mechanical
things
uh you know things that are bolted
together and made by humans typically
are hard surfaces so imagine a
transformer here
and
the organic shape on the right there's
no pattern really here you know there's
a lot of kind of swooping shapes and
it was made clearly not in the same way
or with the same tools that the one on
the left was made you can see there's
two very different type of models here
and just to kind of drive this point
home it's probably already pretty clear
what these two things are but
it's good to just drive it home at this
early stage of learning about modeling
so i have a couple pictures here that i
wanted to show you just take a guess at
what this would be hard or organic
models
and you can kind of tell it's an organic
kind of shape there's a lot of branches
and
fine texture and bark and
leaves and so of course this is going to
be organic and the type of tools we'll
use to model something like this will be
much different than modeling a hard
surface
like me wearing the darth vader helmet
it has some curved shape to it but
it's a hard surface there's not fine
detail and texture on the surface itself
for the most part it's glossy it's it's
like a hard plastic but if we're looking
at this and looking at my hand the hand
would be on an organic model because it
has very
unique shapes there's no pattern or
uniformity to it at all
so it depends on what we're looking at
in this picture if it's my hand or the
helmet on what's going to be organic or
considered hard surface
and just as another example here are
some more helmets
that are all hard surface models
and for a kind of more historical
example you can see there's both in this
as well
the kind of statues in the middle in the
foreground
and the inset on these at the front of
this building
are organic models they have musculature
they have
you know flowing robes and
there's horses and
but when you look at the building itself
it has very flat surfaces
uh very smooth
there's no you know kind of organic
detail unless we you know we look at the
top of the columns we can see the kind
of floral patterns that are incorporated
there so this is again marrying those
two types of models in one example
so this is also a famous sculpture
that's in the vatican
and you can see the robes and all that
type of thing would be considered
organic even though you know organic you
might think of like nature or something
like that
you know clothes can be considered
organic because they have these kind of
flowing irregular shapes and the folds
of the model and again lastly
we have both together where this kind of
structure on top of the mountain is a
hard surface
and then when we look at the rock we can
clearly tell the difference between the
pattern and
the
type of surface that this building is
versus the kind of irregular surface of
the rock
okay so i think we understand what hard
verse organic means and i meant to mess
with this little cluster handle to show
you also that you know this is important
to understand for later down the road
when we're talking about rigging and
animating if it's a hard surface we're
probably not gonna flex from the middle
of this object it's probably gonna move
all together
and that's gonna you know affect how
we're gonna do things later
with rigging and animation whereas if
it's organic you know this this thing
could move all kinds of different ways
and we would need to rig and animate to
reflect the type of
organism this is or shape or or model so
it's also important to understand later
on what this implies for other aspects
so in this course now we're going to
jump into actually making things now
that you have an understanding
of how to use the mayas interface and
how we're going to approach modeling
we're going to make one hard surface
model that we're going to continue to
use throughout the course and then we're
going to model an organic character a
skeleton guy that we're going to use to
animate later and make a pretty cool
animation so follow along in the next
lesson and we'll get to creating stuff
now thanks for watching
welcome to this 3d modeling class where
we will create a ghostbuster trap so we
can start to learn the 3d modeling tools
inside of maya anytime you start
modeling something you want to look at
reference in case you don't know what a
ghostbuster trap is you can just google
it and find some images and we're going
to use this just as a template not
really as an exact match that we're
going to try to get
but just you know there's a kind of box
here that has different knobs and a
handle on it and that kind of a thing
and that's kind of the general kind of
direction we're going to try to model
this object in so we can start to learn
some maya
so i'm going to switch back to maya and
anytime you start
using maya you want to set your project
this is something to remember
from here on out this isn't just some
thing that uh you know
you want to do
sometimes this is you know from day one
when i was learning maya till you work
in a big studio you want to set your
project
um actually well big studios have their
own way of doing stuff but a small
studio maybe
you want to set your project if you go
to file we'll go down to set project and
the reason this is important is because
anytime you have you know later down the
road you have textures say you're doing
a cloth simulation and you want to cash
that out or all these other technical
things that we'll get get into later
we need somewhere for maya to save all
those things to reference into the scene
so in my directory i've made a maya
folder and i'm going to set that
and it will ask you to create a default
workspace and typically this just means
you know it's going to save
you know kind of unimportant stuff like
what kind of view did you have open was
it a perspective or a side view and you
know what kind of preferences maybe you
had for that workspace so you can just
say create default workspace and no you
won't have to do that again you'll have
to do the first time you set a project
we're also going to go to the project
window the other option here under
project you can see project in gray we
only have two options we've already done
set project the project is set so let's
go to project window and we get all of
these different folder options here and
if you don't see these names typed out
here you can go to edit reset settings
and it should fill all of those out for
you
and this will create folders like i
mentioned a moment ago
for caches for
images
and mostly we're going to be using for
scenes because when we save a maya file
if we just hit command s like you would
in a word document or whatever just to
save the file it's going to save a dot m
b or a dot m a
and that's m for maya and a or b
depending on if you save an ascii or a
binary file but that's not that
important right now let's just hit
accept and it'll make all these folders
so when we go to file save let's go file
save scene and because we haven't done
it yet it'll open up this dialog box
and
now we have this current project it
knows where our current project is
and we have all those folders that it
had listed out and anytime we're saving
a scene we want to save in the scenes
folder and you can see that it is under
our project that i defined as maya and
now i can name it whatever i want and i
can choose to be an ascii or a binary
and it doesn't really matter to be
honest for our purposes so i'm going to
name that ghostbuster trap
and hit save
so now we have the project saved and
that way if we need to move the project
to another computer it will have
reference a path to the project settings
so it'll know where the textures are or
or anything else like that
so let's get started and model this
ghostbuster trap so let's take a look at
this reference
and we basically have a rectangle with a
hand a cylinder handle so let's start
with the most basic elements first and
then we'll add detail later because
anytime you do modeling whether it's
hard or organic let's start with the
simplest shapes first and then add
detail later we don't want to start with
the detail on really anything and that
goes the same is true for animation
most art you know you start with the
basics first so let's create the
rectangle and the handle because those
are the biggest most obvious things
so in maya there's a couple different
ways we can create things you know we
have this shelf here the poly modeling
shelf
and
there are curves and surfaces here which
you know it looks like they have similar
things but these are called nurbs
surfaces
and
these aren't very useful for
modeling and animation
um they sometimes are used for
kind of just to create controls on rigs
to create paths to
revolve a shape around
um or constrain a camera to a path or or
fly a plane down a curve path something
like that
but for our purposes we're not going to
be using nurbs surfaces we're going to
be doing poly modeling
where we have vertices
edges and faces
so
let's create the rectangle we can click
this rectangle right here
and zoom in by right clicking and
holding down alt and left clicking to
rotate around if you remember we could
also create that by doing the polygon
primitives and we could pop this off if
we wanted to and create a bunch of these
cubes that's another way to do it
but now that we have this we can go over
to our channel box here and we can see
we have a polycube1 and we can see it's
called p cube one here and it's also
called p cube one here and it's
highlighted so we know this is what's
highlighted
and
i point out these things because you
know
we can translate this thing around
different ways and that's reflected here
but there's also other options when we
pop this down we can get subdivisions
so if we wanted more subdivisions we can
go to subdivision with height and depth
and those will do different kind of
dimensions on this depending on if we
need more geometry we'll get to that in
a minute let's first make the basic
shape so i'll go to width
and i'll make this a little longer
and a little
wider
and tall
so now we have something that
approximates the size
and i'm going to go ahead and turn on
the anti-aliasing and
the ambient occlusion to help us
visualize this i'm also going to lift
this up
and we can see depending on the width
height and depth if i just change this
to five
and these to two
then i know the height is two
that this needs to go up one to be able
to be sitting right on the floor right
because it's measuring from the center
wherever our manipulator is that's where
it's measuring from so if it's a height
of two and this is in the middle
then it's one to the floor right from
where the manipulator is if we bring
this down to the floor it's going to be
at zero
so that's one way to kind of know how
it's calculating what these numbers are
exactly
so
we have that rectangle now let's create
the handle we can click the cylinder
here and drag this up you can hit w if
you don't have the manipulator selected
yet you can hit e to rotate this over
and to get it exact we can just type in
90 you can do negative 90 or 90 for us
it doesn't really matter right now
and we could scale this down or we could
use similarly these types of uh
attributes over here
so we could reduce the radius or we
could you know just scale it down the
scale tool by hitting r
and let's move this to one side
and move it up
and then we can make another cue
a couple different ways we could
duplicate this one we could hit command
d
and now we have another one that we can
scale and do all these things to but you
can see when you duplicate just with the
shortcut you don't have that option
anymore right
we don't have that polycube input that
we had here so sometimes it's nice to
just use the basic tools
to make sure that we have this history
here that later we can go back and
change if we want to so let's bring this
here
and scale it down a little bit
and
let's talk about some ways to align
things so
you know if we wanted to get this to be
exactly on this edge
it might be kind of hard to use the
manipulator
you know back and forth
there are a couple different things we
can do to move things around and be very
specific of course we can go up here and
type in a number but we could just be
typing all day and you know we might not
get exactly visually what it looks like
so to know that we have snap to that
we can use the snapping tools
but the snapping tools go based off of
where the manipulator is so
for example if i hold down v on the
keyboard that means vertices it's going
to snap to vertices
and just to show you what were the
components that we're dealing with to
know what a vertices even is let me
break this down even further
so if we take this square i'm just going
to isolate it with this little button
here isolate select
i right click
now i can see
and change my selection mode to edge
vertex vertex face face
or back to object mode which is what
we're currently in we're in object mode
it's also denoted by this little button
up here in the top left if we want to go
to component mode we can click this
button and again you know it'll show
that if you hold it down or if you hover
over it rather and you can see the
different kind of components that we can
select here
and we can isolate those so now we're
selecting the lines or if we go back to
this one and deselect the
line we get the vertices
so now we can edit
the basic components of all the polygons
here
and if we want to do this quickly we can
right click and hold
drag up and go to edge mode now and now
we can adjust the edges
so that just gives you a quick idea of
of what the components are that make up
a polygon
so i just went to object mode to get
back in so i can select the whole thing
i could also go up here and click this
middle button to go back into object
mode i'm going to un-isolate this now so
we can go back to our model
so the next thing we need to understand
is how to change where the manipulator
is so if i hold down v like i was
describing earlier
and
i
middle mouse drag if we click and hold
on middle mouse this is going to snap to
vertices you can see it's trying to snap
to the corners of the
box or the vertices of the cylinder
so
but we we don't want the center to snap
to it we want the edge to snap to it so
we're going to need to
change where this center pivot is
to do that we can hold down d
and now we get a different type of
manipulator here and if we hold down v
while we're holding down d we can also
snap
the pivot to a vertice without the
object moving because we're just
changing where the pivot is now so if i
let go of both now we get the regular
manipulator if this doesn't come back
you can hit w to make sure that pops
back to be the manipulator so now we
move this the whole thing moves around
now what we can do is go and hold down v
and middle mouse drag and isolate the up
value so we're only going to go up and
you can see it snapped upward now we can
hold down the x axis
and it will snap to the back side which
it seems like it has
so
now
we don't want this pivot here anymore
how do we get that back
that's not a big deal we go to
modify and we go down to center pivot
when we click this now the pivot is back
in the center and we can move the pivot
around later again if we want to
but now it's there also remember you can
see that the
axis here is yellow so if i was to start
middle mouse dragging it's going to be
isolated on this no matter what i do or
where i move my mouse if it's middle
mouse dragged so uh you know you just
want to make sure that you understand
how it's isolating
these axes as you click them that's one
thing that you know stumps a lot of
people when they're just starting out
like why can't i move this in a
different axis it's because we you know
selected that one and now it's thinking
we want to isolate that so this looks
very basic right now
but i want to give you a quick
introduction into how to create things
manipulate them snap things around and
in the next lesson we're going to get
take this further
and start adding details and learn a few
more modeling tools inside of maya so
thanks for watching and i'll see in the
next lesson
welcome to this lesson where we will
continue making the ghostbuster trap and
learn a lot of new tools so now that we
have the basic shape done let's choose
an a view and a piece of reference to
try to add more detail in so let's go
back to our reference
and look at a view like this so i like
to move my viewport to get a closer view
of what the reference view is like so
it's kind of a three-quarter angle like
this let's focus on this edge here where
there's a lower level here and then it
goes up and there's a bevel and there's
a bevel here as well and then it goes
out so we have this higher kind of rim
and a lower area here and it looks like
the back area here is the same level as
this edge here so let's just focus on
that anytime you have reference in
something that's kind of complicated
you're going to break it down into its
components and simplify it and only work
on little sections like that at a time
so let's do this kind of edge here
so i'm going to go back in
and if i go into my face mood right
right clicking and going down a face
i select that and move it around i can't
really move this and divide this in
different sections so i need edge loops
here and that's you know if we go to
edge mode right clicking and dragging up
i can move individual edges well we need
more of those we need an edge here to
get that border we need two edges here
so that we can divide this section in
half and it kind of have an angle
between it so let's add more edges so to
do that we need to go to mesh tools
insert edge loop and what i like to do
is to add tools that i'm going to use a
lot to my custom shelf so let's move
over to our custom shelf
and go down to the mesh tools and hold
down command and shift
and then click insert edge loop and
watch your custom shelf boom we get a
new tool here so that now we don't have
to keep going back to this menu and if
you do this by accident in the future or
you just want to delete it you can right
click and go to delete
so let's click that
and
if we click and drag this we can kind of
make these two
kind of areas
where we're going to have the lower
section and the upper section and we
have this angle here so we need to have
two edge loops one here and one there so
we can make this division it doesn't
really matter where they are exactly we
can move that around later but let's
just get them in there now
so now we have those two edge loops
and
the other thing that we're going to need
to add are the edge loops of
the
border here so let's go back to our
insert edge loop tool you can also i'm
going to hit q to get off of it to just
go to the select tool
and go to object mode and select the
object you can see the last selected
tool down here
so if i also hold down or so well i'm
still selected on it so let's go to the
move tool so now it's deselected i can
go back to the last one by selecting it
here
or i can hit g is the shortcut to get
back to that so it'll do the same thing
so let's go to the move tool and i'm
going to hit g on the keyboard and it'll
go to the last used tool
which is the insert edge loop tool
so if we want to have this to be even on
both sides you can kind of try to
eyeball it a little bit
and that might be you know good for our
purposes but let's you know we're all
about learning new stuff so let's get
more precise let's go to the tool
settings here which is next to this
button it will pop up the tool settings
panel
and
depending on the tool that we have
selected it will give us different
options if i change the tool here you
can see this menu will change
every time i have a new tool so with the
edge insert edge loop tool selected
which i can get to there or there or i
can get g there's a bunch of different
ways which is kind of the theme of maya
there's a lot of different ways to do
the same thing so it's just whatever
you're more comfortable with or is
quicker to work with for you
so now that we have this
let's go to the multiple edge loops
option
and i've set it to 6
and
let's go to six
and if i click here and i drag it won't
matter because
we're doing a uh
equal distance from each other so when i
let go
you can see
now we for sure have the same distance
from the outside edge for these new
edges that i made
but what if we don't want these interior
edges
if i go to edge
by right clicking and dragging and keep
in mind you do need to have your cursor
over the object that you want to change
to if i was to do this up here and go to
edge it'll change to this object and we
don't want that we want that object to
stay in object mode so let's click this
and go to edge mode
and if i select this now it's just going
to select that one little section but if
i double click the edge it'll select the
whole edge loop if it goes all the way
around if it doesn't go all the way
around it won't select the whole thing
um but okay so if i hit delete now
because i don't want that
now
you can see it still has a division here
right there's got to be a vertices here
look there's a verticy there we don't
want that vertice
so i could go through and delete each of
those vertices like this but they're on
all the corners and it's it's kind of
stupid to have to do that so let's undo
this and get that edge loop back
and i'll show you the right way to do it
so we'll go to edge loop
we will
double click each edge and hold shift to
select more than one edge
and now i'll hold down shift and right
click and go to delete edge and this is
how you delete edges for from now and
forever more okay so use this because
it'll get the vertices as well so now
this is one solid edge it's not still
divided up in a weird way
cool so the next problem we need to deal
with is the fact that
these kind of faces here should be
at the same level right they should be
down here somewhere
and not just those but these here
right because the
we noticed in the reference this kind of
back area looks like it's at the same
level it goes across this
you know you can kind of see this little
edge here
or you know even this is a better view
look at this kind of back edge it's flat
here and then it looks like it lines up
to this flat edge so
it's more like this is an extrusion than
anything else and
you know there's a bunch of different
ways you could you could go about doing
this we could actually just select these
two and extrude those up which is
probably the easiest thing to do so
let's go ahead and do that conversely
you could extrude everything else down
like i had selected earlier
and the other fun thing you notice about
my as i'm undoing it's reloading in the
last selections so
it includes that in its undo history
which is kind of nice
so we could extrude these down
or we could just extrude
these two sections up let's go this
method because it's the last amount of
things that we have to do
which is always good in 3d
so let's extrude these up
so to extrude it's another tool like we
did the insert edge loop tool but this
one is in the edit mesh option here and
i'm going to command shift it because
i'm going to use this more than once
probably
and
to that point there's a ton of options
in here to to do stuff and this is why i
like adding things to my own custom
shelf because i'm not going to use most
of this stuff right we're not even
probably going to cover you know half of
this stuff because you just don't use it
that much
so i like to create my own shelf um of
the tools i use the most i don't have to
keep hunting through all these things up
here
so i'm going to click the extrude tool
and i'm also going to turn off this kind
of tool settings here so we get more
view area space here
and so now we have this little window
and that gives us options for our
extrusion you can also see those options
here and the inputs kind of similarly
when we were you know changing the size
of our original cube
we had that input down here
the polycube input and it's still there
right
5 2 2. those are the things we changed
in the previous
lesson and so it keeps all these inputs
you know when we added those uh split
edges with what they call split ring
i don't know why they changed the the
type of language they're using instead
of saying insert edge loop you know for
the tool and now here they say they call
it a split ring so
that this is the history of what we've
done on the object you know you can see
we added
uh edges to this and then we deleted
some and now we've extruded it so it
keeps the history of the object um
there's also what we'll do at the end is
delete all the history so it's a lot
cleaner when we're done with the model
so
let's
you know there's multiple ways to use
this we can just click and drag this we
could also you can see it changes the
local z translate we also click and drag
this
you can see it also changes here we
could also change the thickness is is
pretty similar to the local z translate
that is
does kind of the same thing
and if you're having trouble clicking
and also you know remember if you're
doing something like this you can click
and drag on it here you can also middle
mouse drag it out here
and if it's going too fast it's probably
because of this little pie chart thing
and you can change the speed at which it
moves so this is the slowest one and if
i needed to go faster i can click that a
few times and it goes up and we don't
need it in this little window it's
actually also changing the one over here
you can see that if i change this one or
if i change that one it'll update the
other
so you can get it to it in two different
places and this is going to be super
super handy animating modeling
this is a very useful tool to get more
precise so
let's you know make the thickness
something like that
now the problem we've encountered is we
have this kind of stair step look
instead of a kind of straight edge the
kind of diagonal that we're going for if
we look at the reference
let's get a better picture
okay now that we have a better picture
we can see that this is a slope it's not
a stair step so how do we resolve that
let's go about it and learn another new
tool
so
let's go to the face and let's just
delete these faces
and also be careful you're not selecting
faces through it this is can be a common
thing you can see if i drag my mouse
over here
i'm actually selecting things on the
bottom side
and to double check that you can also
just go into wireframe mode let's hit
four on our keyboard and now we're in
wireframe so you're going to kind of see
through the object and make sure you're
not selecting something on the opposite
side
so let's delete that
and let's go back into the shaded mode
and hit five you can also get to these
modes up here
by toggling through them
this is a texture mode we don't have
texture so that one doesn't matter
so now we have these holes that we need
to fill we'll go to mesh tools
and go to
append to polygon i'm going to command
shift add that to my custom shelf
select it and now you can see there's
kind of
these highlighted borders
i don't know if that's super obvious in
your view but this is a thinner kind of
green and this is a thicker green so
that's telling us where we can select
and if we hold our
tool out in the viewport or you know if
we look down here
in the bottom left it'll say append a
polygon tool activate the object then
click on the first border edge to append
on
so
let's select one of these edges and then
just select the other and now we have
this kind of bridge that we made and
let's hit enter and do the same for this
other side and remember if we hit g we
can pull up the last use tool
and we can do the same thing and make a
little bridge here
and let's hit g again and do the same
for these holes
and you can see that we just have to do
that for two edges and it'll
fill in the third edge
and
let's hit g again
whoops
i selected the wrong
thing so i just hit
backspace
and hit g again
oops see and it's trying to
go to another who knows why it's trying
to go out there but i didn't pick up i'm
trying to hit that edge so one thing i
like to do is go to a view
where there's kind of nothing behind
this thing right
so this is pretty much the only thing i
can select if you're having trouble with
it
and hit enter
and it looks like it didn't undo that
that goofy thing that it did so i'm
gonna undo that hit g
select the object select the edge
and there we go the other thing to
keep in mind let me just hit backspace
to undo that
these purple things are arrows so it's
telling you the edge direction
so if i select an edge
you can see the arrows are pointing in a
certain direction they're going in this
direction they're huge so it's kind of
hard to see but
you know i think that's if i chose this
one i might still do it but if you if
you have a problem where you have more
than two or three edges you know look at
those purple arrows and see which
direction it's going in if you're having
trouble
making that work
so now we have
this type of slant to our object
how cool is that
and we have this back area is at the
same level as those so in this lesson we
learned the insert edge loop tool the
polyextrude tool the append to polygon
tool
we learned three new tools we learned a
lot and those are tools you're going to
use over and over again so in the next
lesson we're going to continue to refine
this we're going to bevel some edges and
keep adding more detail thanks for
watching welcome to the next lesson
where we will continue adding detail to
the ghostbuster trap and in this lesson
we're going to add some bevels and add
this kind of front panel here
so we'll add more geometry to it and
details let's focus on this bevel for
right now so it looks like this is a
pretty rounded edge but that this edge
maybe isn't as rounded as that one but
it is
rounded there
and this one is maybe a little sharper
so this could be because this is a
homemade thing and it's not exactly
you know
exact
machined as it would be if it were a
real thing
so depending on if you want to divide
these bevels up you can do that and do
them separately i say we just do them
all together so that it's you know a
little quicker and you can add more
detail or
do the bevel separately if you want at a
later time
the one thing i want to do
before i do that as well is to finish
out this kind of bottom section you can
see that this goes down to a kind of
footprint
that doesn't just go straight down to
the floor so there's this kind of inset
area that we can do
with the polyextrude tool and adding
some edge loops and things that we've
learned so let's go to the insert edge
loop tool and i'm going to go to the
tool settings over here to make sure
that we're back on relative distance and
i'm just going to choose one kind of
area here and use that
and then i'm going to
go to the face mode and select the all
the faces
whoops i'm still on the insert edge loop
tool and i'm going to turn off the tool
settings now
so let's go to the face mode we'll
choose q or w whichever to select the
faces and i'll hit four to make sure
those are all the ones selected go back
to five
and now i will choose the poly extrude
tool
and i'll just pull in the thickness a
little bit
you can see we have keep faces together
off so let's turn that on
and as this goes in it'll all go
together the only thing with this
is
it's also going up
so that's the only issue there
is the fact this is going up
if we go to the front view
holding down spacebar clicking and
dragging from the middle
um
you can see it's going up so we can
offset that later let's just bring the
thickness in
so it's not just
the same so
that looks about right
it looks like there's it's actually it
goes in and maybe there's another layer
here
so let's deal with that let's go to the
front view
and i'm going to
go to the vertices mode and i'm just
going to select all the bottom vertices
i'll click w
and then i'm going to hit x now i'm
going to hold down x on my keyboard
and that will snap to the grid because i
want this on the floor
so it'll snap to the grid
now let's add another edge loop
so we can kind of get this bottom
section out and do the same thing we
just did let's go to face mode
select all the faces
whoops again i'm still in the edge loop
mode so
i'll hit q to get off of that
select all of the faces go to the
extrude
and let's just extrude this out
and we want to keep faces together on
as we did before
let's have that somewhere between
kind of the front and
and insert edge here
now i'll go back to the vertices
select them
and hold down x to drag them up to the
floor again
so now that now we've created whoops
now we've created
this kind of inset
kind of footprint here
and i want to do that before we do the
bevel so that we can bevel all of these
together let's go back to this
it looks like this is fairly rounded at
the bottom
so let's select the edges we want to
bevel and start beveling
we'll go to the edge mode
i'll select this edge and that edge
this edge and that edge
so we're just going through and holding
down shift to select more than one edge
and let's see what we're going to do
down here let's do these corners later
because
it won't be as similar to these are kind
of the same
distance
of an edge loop so let's just do these
top ones so let's go to edit mesh
bevel i'm going to command shift click
it to add it to our shelf
and now we can see it's starting to
bevel the edges
now this one doesn't have a tool that
pops up
so we can go over here to the poly bevel
input and it'll pop it up for us here so
we can change the fraction which is how
far it is we can change the segments
which we will need many more and if you
can see i'm clicking and dragging not a
lot's happening it's because the pie
chart here is too slow so let's speed
that up so that i can add more sections
here
cool
so we've rounded those two out
and the thing i want to do actually
is to move these closer together
so i'm going to go to the edge
i'm going to double click this you can
see because now
this
so this is a triangle so in maya it only
likes quads everything in this model so
far is a quad meaning four sides except
for this so when i double click it
that's why it doesn't select this edge
loop because it stops here
on this triangle so just be aware
that
mayan does not like triangles in that
regard
so now that i have this selected i just
want to move this a little bit closer
so it's a more of an extreme angle
and select these edges again
cool let's hit the poly bevel
and we'll click on the input over here
and let's hit t to bring up the menu
and let's add more segments to this
and
that's looking pretty good
so if we go back to this we can see also
along this edge it's not perfectly
it's not perfectly flat so we can
actually add more bevel to these edges
as well
so let's go to the edge tool
and we'll double click this
and let's select all the edges the kind
of
outward facing edges here of the object
so i'm just holding down shift and
selecting them
and
i'm going to do these bottom ones later
so let's deselect those
cool so i'll shift select this edge
deselect by i'm holding down control
to deselect things sorry i didn't
mention that
so
double click that and go in here
select these
control click drag deselect that
and let's bevel these edges as well so
we'll go back to the bevel tool
and
that looks a lot better
let's hit t to pull up the tool
and we can change this fraction if we
want
let's add maybe one more segment in
there
[Music]
and so the fractional stop based on how
much room it has
you can see it's running into this
edge here so it can't go any further
than that
and i think that's okay for us but just
know that in in your case if you wanted
to go further it can't go further than
that edge so you'd have to move this
edge
before you beveled
so it could go further than that
so now we have a much nicer edge here if
you look at these because we didn't
bevel this one this one looks very cg
very
exact and hard and this one is just a
tiny bit softer and it adds a lot to the
model
okay so the other thing that we run into
here are
a normals situation
normals
are
how maya knows
what direction a face is facing so if we
go to
display
and we go down to polygons we can turn
on
face normals i'm just going to pop this
out because i'm going to turn them off
here and again in a second so let's
click face normals and now you can see
we get all these
green little arrows
so that tells you which direction the
faces are pointing and for the most part
they're all pointing in the right way
but i i bring all this up because
it will affect how
maya views and shades the object in this
kind of
almost fake like shaded mode that you
can see in the viewport so i bring this
up because
i'll turn that off just by clicking face
normals again
close this you can see this is kind of
shaded in a weird way if you click off
of here it's kind of
you know there's this gray area here
it's wide it's like what's happening
here this is this looks weird
so there's a couple of different things
we can do
and
first off
we can clean up the geometry a little
bit if we wanted
you can see here
we have
an issue
that this has
a face
so i'm hitting f to zoom in on it and
zooming out
um
you know this has a face it's not
connecting here it should connect here
so there's no edge here so it's like
it's trying to drag this face over this
thing without an edge
and so that's why this one is shaded
weird you can see it has like a dark
area in the top here
and then it's it's lighter here but this
one doesn't look the same way so we get
this hard edge
so if we go to the multi-cut tool
let's go to the
mesh tools and we'll go down to
multi-cut and we'll command shift that
add it to our shelf
if i click that i can select a vertice
and select another one and it'll cut
this in half if i hit enter
so now we have
room for that to
describe what's actually happening if i
select off of here you can see it's
still shaded in a weird way and we can
fix that in a second but before we do
that we need to add the geometry in here
so it knows how to
describe that area so we're going to
multi-cut tool let's do that to this
side as well
and hit enter
now
if i go to mesh display
and let me zoom in here so we can see
this change if i go to mesh display and
hit average
you can see it changes the whole model
if i go to mesh display conform
or
set to face i think is what we want
now it looks right
so that's just one way to fix that now
that we've set the normals to be to the
face we can see that we're kind of
getting these hard edges here on the
curved areas
well
my computer thinks i'm right clicking
when i'm not
we get these hard edges here you can
kind of see this gradient from dark to
bright here on these stepped kind of
colors
and to get rid of that let's select the
object and go to soften harden edges
and when we do that it will soften and
harden the right edges in the right
areas so now we do not have those weird
kind of colored areas here that we were
getting before
so that's a way to get around that and
to get these smooth areas to look
smoother so we've done quite a bit in
this lesson with beveling edges so i'm
going to go ahead and end this one here
and in the next lesson we'll start to
add this detail of this panel to the
object thanks for watching
hey thanks for watching this free course
i just want to remind you this is part
of a larger course you can take and you
can find that at the link in the
description give me a thumbs up too a
little like if you are enjoying the
course so far and you want to keep this
up on youtube go ahead and give me a
like and a subscribe and let's keep
going in this lesson we'll continue to
create
detail on this ghostbuster trap
so in the previous one we did some
beveling of the edges let's finish that
up but first i noticed that at some
point my model got
uncentered you can see that it's not
totally centered up here so all i need
to do that happens is hold down spacebar
click in the middle here go to my right
view
and i can see that it is not lined up
with the handle so i can just hold down
x and with the
move tool selected i can just snap it to
the middle so now that i can tell that
it is centered up with everything and
we're ready to continue so if anything
like that happens it's no big deal you
know just figure it out and snap it back
to the center you can uh you know change
the pivot if you need to all that kind
of stuff so
don't feel like you're always stuck or
you know you can't uh
you know change something or whatever
it's you know it's just a matter of
getting comfortable with these tools and
starting to use them
so
one thing i want to do is add this type
of a bevel here to
more areas quickly
so
and it looks like maybe that's what i
did i middle mouse dragged
this while the uh
well i had the manipulator tool selected
is probably how it got off centered
so just be careful about that
and you can always fix that
so let's select the edges here right
clicking going up to edge
and we will go through
and shift select the edges that we would
like
to bevel
and double clicking it looks like i
accidentally didn't have
shift held down so hold down shift
and just double clicking these and these
corners i'm going to do the bottom
corner separate because i want those to
have a different kind of bevel and let's
do this one as well
and this one
and these might not be super clean
because we're doing them separate from
the sides ideally we do these together
because
their intersection might be kind of
dirty so we'll see if that works at all
if it doesn't we can just skip that and
um you know you can undo the bevel from
earlier and
get back to that so now that we have
that selected
we can go to bevel
and
yeah you can see on these corners if we
don't do these together then they're
kind of wonky a little bit we can always
fix that
if we need to and it looks like i missed
one edge here as well
so let's go back to bevel
and then let's
go to the poly bevel input here that we
created we can hit t to bring up the
options here if we'd like and resize
this
to make it more clear
and let's go
to a higher fraction here
and add at least one segment
and let's go to object mode so we can
see that and deselect it looks like it
did a pretty good job the only thing we
need to fix down here is this kind of
intersection
so if you know you happen to do these
bevel separately and there's some wonky
thing like this you know this is
modeling this is uh you know creating
things on the fly making different
decisions and then fixing things when
they're not working so what we can do is
just add a little multi-cut tool here
and we can add that edge in
we can do that to the bottom here as
well
and hit enter
and if i go to the vertice
mode here
and
i zoom in here
just so i can hit f to have something to
focus in on we're so close to it
that
it's kind of hard to see let's go to the
edge mode
and let's just delete these edges
that we don't need
actually we need these
in the center so i'm control clicking
and dragging those
so now i'm going to go shift
right click delete edge
and now we have that
so let's go to the vertex mode
and just drag this up
and if we want to make it precise we can
go to a camera view
that's orthographic so we can see it in
line with everything else
and we can
just drag it up so it's in line with
this line here
we can also vertex snap it holding down
v and now we know it's in line we can
see the ones down here also need to be
fixed i'm going to leave that for now
and let you fix that if you'd like but
that's how you fix you know intersection
like intersections like that it looks
like that one needs to be fixed as well
so i'm just holding down spacebar
and clicking in the center to get to the
right camera and holding down v
to drag that to the right spot
and then going back to perspective with
the holding down spacebar dragging
clicking and dragging
so that's how we fix intersections like
that when that thing occurred when
something like that occurs
and again that's just part of modeling
being flexible because you know say you
had a supervisor and now they want to
add more bevels and you've already done
all these all this beveling you know
things don't happen perfectly from one
step to another so you need to be able
to adapt and know the tools well enough
to adjust the model as needed
and again i'm just going to leave that
one now for time's sake it looks like we
need to do that on every corner but for
time's sake let's just leave that
and let's look at these
edges here i want to just select
the
corner pieces and i want to i want it to
go all the way to the edge
there on the inside
so let's control click deselect areas
that we don't need
and double check that we have everything
selected
and let's get this side as well
i'm just double clicking and then
control clicking it to deselect
whoops
looks like i
zoomed out in the wrong spot so what one
thing i just did sorry it's a habit i'm
used to using these tools so i'll have
to slow down here
i'm not entirely sure what just happened
the view just went away so the first
thing i did was hit the bracket button
on the
keyboard and so that'll just go back to
your previous camera view and so we can
toggle between wherever the camera went
i'm not entirely sure i might have hit a
which is uh frame everything
and
you know who knows why it went that way
this is just part of working in 3d
sometimes
but yeah just hit bracket and you can
get back to the previous camera view if
you're ever
you know missed where you went or
something like that
things go haywire sometimes and
yeah if you know the tools well enough
it's not that big a deal to just
get back to where you were okay so we
have those done
so i did those separately because i'm
gonna go back to poly bevel here hit t
we could also do it from this menu but i
just like
it just looks better to me to use this
one
floating one um
let's increase the fraction and i did
this separately because i wanted to do
these separately and it looks like
we're going to be prohibited
by this interior piece here
so it's it's getting stuck right here i
can't go any wider than that
so
let's undo this and we have the
selection and instead of remaking the
selection
let's create a quick select set
so
that's just a way that we can get that
selection back without having to redo
that
all over again so we'll go to create
we'll go down to sets
and quick select set
and we'll just say
bevel edges we don't even have to name
this because we'll probably just delete
it here in a minute
and we'll say okay
so now we can unselect it and we can
save that selection for later
so let's
delete these kind of edges here
so that we can
have a greater range in the bevel
and again you know this is may seem like
tedious work
but this is just modeling this is part
of modeling if you want to get into
modeling
well what's happening here
if you want to get into modeling
this is just part of modeling
to
you know like i was saying a minute ago
to kind of run into problems and then
solve them
so we have all those selected so i'll
hit shift hold down shift and right
click get to delete edge
so now when we go to the bevel edges
let's just go to
select quick select sets
bevel edges
now we added selection so we learned
something in that process of problem
solving
so now that we have that we can go back
to the bevel tool
and when we pull out the fraction here
we should be able to go a lot further
oh now we're stuck by those
so i think what we have to do here
is because we're still stuck
by this these interior pieces
we're going to have to
create
or d sorry we're going to have to
deselect
this line here so let's just undo this
and
ctrl drag that
so again
you know anytime i'm modeling something
in my head i have an idea of how it
should work but i you know it's not
entirely
certain
that's going to be the case
so let's go to poly bevel
now here we go
so let's zoom in and
let's see if we can increase the
segments here
and
let's go to object mode and see how that
looks
it's looking pretty good so one thing
you might notice is this kind of line
here and i think that's because we don't
have the
geometry here to support this area so
one thing we can do is go to the
multi-cut tool
and click here
and go to the edge that's missing and do
the same for this side
and now when we
go to the object mode and click off
it's still there
maybe not as bad
so now we have the corners beveled here
let's move on to creating the panel on
the right side
so let's go and create a new object
we'll go to poly modeling shelf
create a cube and bring it up
most things that ever start to get
modeled in maya
start with a cube or sphere something
like something simple and then you add
complexity to it later
so i'm just using the scale tool to
change the size
and get it roughly in the right spot
so we can just actually we can do the
same thing that we did before let's hold
down hold down d and v and vertex snap
it to the edge to its farthest edge
and then go back to the manipulator mode
and then hold down v with just the
normal move tool and it'll snap right to
that face
and so now also when we scale it it
should scale from that face we don't
have to worry about like going inside of
the
uh inside of the trap itself
and this is important to do to have a
separate piece because when we add
materials later we want to have
a different object you can see over here
it's it's called pcube3 and we can start
naming these things if we want to
to clean this up but
basically this is a separate object we
can see it and in the outliner so we
know it's a separate object so it can
have a different material because if we
look at the reference this is a kind of
aluminum metal and this is like a
painted black or something so it's it's
good to have those separated out
okay so let's go to the edges here let's
right click go to edge mode i'll just
select everything and bevel everything
together
and if we go back i can click it here
but i like to go back to the custom
shelf so
it keeps everything a little organized
and go to poly bevel and let's just
increase the segments to two
and right click to go to object mode and
clicking and dragging of course to the
object mode option here
and letting go so now we have that
let's look at creating the
the screws here we have these kind of
semi-circular uh
ends that go in and then this looks like
a cylinder type of a screw
so let's
create this and show you one other tool
called a boolean
so let's go to the poly modeling shelf
create a sphere
and
let's just group all of this
and so i'm shift selecting everything in
the outliner and hitting command g
and that will group everything
we can call this trap or gb trap
and hit enter
and now i can with that selected i can
hit
command h or sorry i can hit control h
and that'll hide it so now i can focus
on what i'm working on here you can see
it kind of graded out here so we know
it's hidden
and to get that back we can just hit
shift h
okay so with psphere let's create its uh
screw and inset here so let's scale this
down hitting r
scale it down
and i want to select all the faces
on the outside here so i'm going to
click and drag and select all those
faces
i'm going to go to the custom shelf and
go to extrude
and with keep faces together off i'm
going to increase the thickness
and
i'm going to hit the little pie chart
here to make that go slower
and i can actually look at this from a
top down view holding down space
clicking and going to top view
and i can see how far out i want this to
actually affect
the
uh screw head here
so something like that i think
then we'll go back to perspective
and right click to object mode
hit the r for scale and scale up in
the y here
drag this down and we want this to go in
as far as we think we need
the screw to go so maybe pretty far
something like that we can go to
wireframe mode by hitting 4 and we can
see it doesn't go all the way to half so
you know because this is sticking out at
least half it's more pancake shape
we could actually just go ahead and do
that with the sphere
let's go into the right view
and let's go to face mode right clicking
on the sphere
and going to face
and also if that ever happens where you
accidentally go into uv mode and now
you're in a whole new menu you can just
hover back over the one you're in the
little gray dot here it'll go back to
that menu or you can just let go of
right click while you don't have
anything selected and i'll get you back
to this
so let's go to the faces click and drag
all the faces below the half here we can
see this is kind of our ground plane or
zero so we can hit just delete on that
for faces you don't have to do anything
special you can just delete them with
the delete button on the keyboard
so let's go back to object mode
and then we can scale this down hitting
r
scale this down to be more pancake
shaped now we can move this down to be
something like this we don't want to go
all the way through so we want to leave
a little gap here at the bottom
so let's go back to perspective
holding down space bar and then let's
hit
5 to go back to shaded
and
with
the sphere selected here
and then this one selected we can go to
mesh
boolean
and booleans are basically a way
to subtract or add one object to another
so now that we have that done we want a
difference so let's click that
and boom we have a difference and we
have our screw so that's super helpful
you don't have to model every little
corner and it's like you know what these
edges on a sphere how do you actually
even get that so
it's nice to have a boolean every once
in a while they can they can be kind of
wonky
and you do have to select things in the
correct order so if i didn't do it in
that order if i selected let me hit q to
get back to my tool and
sometimes my maya has a little buggy
thing where i need to
shake the viewport a little bit or use
the viewport and it'll let me start to
use tools again so you might run into
similar bugs when you're using it so
i'll shift select
it in a different way now you can see it
does the reverse
so
you want to make sure you're selecting
it in the proper order
and that you're using the right boolean
and that's why it tore off the menu here
because it's nice to have it in case you
screw up to you know just go ahead and
use it again and again so we can close
that out
we have this made
and now let's bring our trap back and
also now that we're looking at the
outliner you can see it creates all this
history when you do a boolean
you know if we look at the input over
here
we deleted the faces so it says delete
component we extruded uh
you know it's combining the inputs from
the two pieces and then you have this
boolean so it gets really messy and then
it creates these empty shapes
and those are quite useless and can
actually be harmful in the future
so
when you do a boolean and you know
you've you've done it and it's you know
you're done using it it's good to go
ahead and clean up that piece of
geometry and delete the history so go to
edit
delete by type and history you want to
make sure you do not do delete all by
type when it says delete all it means
everything in your scene
not just what you have selected so this
is a very important distinction right
now
these are not the same thing okay delete
by type is what you have selected delete
all by type is everything in your scene
we just want to do what we have selected
so we're going to go to delete by type
and go to history now you can see all
those inputs are gone and all those
empty groups over here are gone so it's
much cleaner to do once you do a boolean
like that so let's click this and hit
shift h to bring it back and hide it and
click the sphere here
and let's bring it over and rotate it 90
degrees
by clicking that typing it in in the
channel box
and
let's
vertex snap the pivot holding down d and
v
to the bottom here so then we can
vertex snap holding down v to the front
face
of the object so now we can slide it
around knowing it's on the front
and because we have uh ambient occlusion
on up here we can see it kind of has
this shadow effect around it so we know
you know kind of where it is in space a
little better
i'm also just going to save real quickly
because it's doing crazy things anytime
maya's doing crazy things that's good to
save
and of course you can follow along
with all these lessons
in the according numbered scene so we're
number four right now so you can pick up
where we left off there and
use the same model in the same scene
so i'm just going to bring that up here
somewhere
and scale it down
and that works pretty good for me
so now we've started to add this panel
and we can add a couple more details
like these cylinders are something super
easy to do let's just create a cylinder
bring it over rotate it down 90 degrees
so i like to do it here first so it
tells me which axis i'm doing it axes
i'm doing it over here so then i know
which one i need to type it into up
there
the other thing i want to do is add more
subdivisions to the caps so i'm going to
un
untoggle down the input here for the
cylinder and go to subdivision caps and
just say
you know
let's just say three for fun
and the reason i'll show you here in a
second because we need to adjust the
model a little bit i'm going to drag
this out scale it down
move it over move it up
do all this fun stuff
that you know how to do now
and let's just scale it down and then
drag it out let's see how
they're kind of far apart and maybe a
little thicker
one really interesting thing is
isolating
where you're scaling from this is
something i use all the time and i
didn't know years and later until i was
using maya so
into using one i didn't know this so
so
say i want to scale the radius of this
thing
you know i could do this and then i
could do this and i could do this and do
this and i'm not entirely sure if that's
keeping the right circle shape
so you know if i don't want to scale in
this direction but i want to scale in
the other two directions
all i have to do is hit control and
click and use that and now it's
isolating those other two ones you can
see those the red and blue things are
going up and down
but the one i'm clicking on isn't this
is a huge huge helpful little tip
that uh took me a couple years to figure
out and now you know in the first uh
you know hour of learning mile
so this is the
benefit of taking these kinds of classes
you can learn what took me quite some
time to learn so
the next thing i want to do is go into
edge mode and the reason why we added
these caps
is i'm just shift and double clicking
them to cr to get the edge loops
is if you look here
you can see it kind of has this bevel
and we could actually bevel it if we
wanted to
but uh let's just have a little more
control over it in our own way and scale
whoops scale these
two edge loops in a little bit
and it does pretty much the same thing
so now we've added that detail ourselves
and
we could even go further and bevel these
two edges
now that we've done the kind of larger
move
why don't we just select these shift
clicking double clicking
and then if we go to bevel
i don't want it to look super rounded
out so i'm going to reduce the fraction
quite a bit
and
right click and go to object mode so i
can kind of see it
it looks a lot better
and
i'm going to duplicate this by hitting
command d on the keyboard
going to the manipulator tool by hitting
w and just drag another one down
and now we have those two red things
that are who knows what they are on the
sides ghostbuster trap
so you can also see we have another
screw down here in the bottom right so
let's just duplicate this command d
and we'll just drag this down
and over here
and now we have that
so the next thing we're going to do is
create the knob here that's in the
center piece and you can see that has
these kind of ribs around that is going
to create a
we're going to need a special type of
technique to model that in a repeating
pattern over a kind of
curved surface and so in the next lesson
we'll cover that and add more detail to
this thanks for watching and i hope you
learned quite a bit in this lesson all
right see you then
okay welcome to this lesson where we
will
create the knob that we see here in the
reference and i want to make this its
own lesson because it's going to use a
very unique technique
and between the previous lesson and this
lesson i also added a few more details
using the same techniques we've already
learned so i want to save some time and
not you know hand hold you through every
single thing if we've already covered
that type of a topic and i'm going to do
that throughout the course so we can
speed this up and you're not having to
follow and relearn the same things over
and over again so the things that i
added were bevels to the handle and to
the kind of
extension here
and i added another plate and these
screws
the only thing to notice and to remember
um
that i maybe haven't covered about
bevels when i was making this i was
resizing it and doing all kinds of
things same thing with the
this beveled edge here
and if i was to start to scale something
that i've already beveled
the bevel itself is going to scale as
well you can see the distance of those
edge loops are getting further and
further apart
and it's messing with the bevel
and i don't want that right when i'm
scaling something i want the bevel to be
the same so
if you're going to scale something you
probably need to go into vertex mode and
move the vertices instead of scaling
this out you want to move them so all
the bevel is maintained
this is the same bevel distance that we
had when it was this short of a piece so
that's just one thing to keep in mind
when you're scaling anything that's been
beveled
that that's not uniformly scaled i
should say because it's uniformly scaled
then it's going to scale up and it's all
going to get bigger together
if that's what you want that's okay
but just know that bevel is going to get
bigger if you scale the whole thing up
together
so let's get into making this little uh
kind of knob here and it's it's a
non-uniform shape as well it's not a
cylinder all the way around has this
kind of point over here
so let's go and create a cylinder
because we're going to start with the
most basic things and i'm also going to
group you can see these screws i also
have these kind of black pieces or what
are going to be black pieces if you can
look
at the reference here so i included
those as well and then i grouped them so
i'm going to just middle mouse drag i'm
shift selecting everything and middle
mouse dragging that into the main group
gb trap
and we can do that with everything else
as well let's just shift select
everything that we're not currently
modeling and middle mouse drag that and
let go over the main group
so now we can select that and hide it
with ctrl h
and now we can look at this
cylinder
and
what we want to do is pull out one kind
of point so i'm going to delete some
edges and before i do that and start
messing with the history of this thing i
want to add a cap here
and that's important for cylinders at
least because if you start messing with
this thing and then later you want to
add a cap it won't do it because you've
messed with the history of the object so
you know get this cleaned up first
because you won't be able to change it a
ton later if you're
messing with components like we're about
to do
so i'm basically going to select double
click and shifting shift and double
clicking
whoops all of the edges
i don't know why it's not selecting
all the edges here
except for
the one in the center i just skipped
because that's going to be the one we're
going to pull out so
i'm going to hold down shift right click
and go to delete edge and now we have
the point that we want and
it looks like
it comes out kind of far so we can just
click and drag this out
something like that
and
we can double click these
and maybe just scale them in a little
or what we could do is add some more
edge loops here and scale them out so
let's go to the edge loop tool on our
custom shelf
click it go to the
tool settings here make sure we're on
multiple edge loops
and yeah let's try four
clicking here
and it looks like it's kind of the same
distance i'm looking at the distance
here with a distance here it's maybe a
little bigger so let's go five
whoops just type that in
click one time
that looks a lot closer so now we have
kind of remade those that kind of uh
uniform distance here you can see it
doesn't go all the way to the center and
this is a goofy thing about
cylinders while we made that cap at the
very beginning
because it wouldn't make these edge
loops later if we didn't
but uh
you know that's just some quirky
modeling stuff and i'm trying to
help you avoid that in the future so
one thing we can do here is scale this
out just a little bit
and
you know we just did those two so now
it's not a flat uh surface all the way
to the end
but you know again that's no big deal we
can just
we do things and then we change it back
and
it's very adaptable and you need to be
the same and your knowledge and
application of all everything that you
know
uh for modeling so you can kind of do
whatever you need to do and you're not
kind of constrained by the tools or the
decisions you make you can just kind of
go with the flow so now we have the
general shape of this thing the big
question is how do we make the kind of
ribbed
looking kind of cylinders here all the
way around
and
so
we'll address that first let's deal with
this it looks like it's kind of a
beveled edge here it's kind of rounded
so let's bevel the edge first
so i'll double click this
and i'll double click that
and let's look at the point is probably
beveled to here
so let's go to bevel
and
let's go to the input here for bevel and
drag
out a few more segments and then change
the fraction a little bit
it looks like it's snapping around so
i'll just click the kind of pie chart
here to go to a slower
fraction
and
i'm not entirely sure why it's freaking
out so i just clicked here and now a
middle mouse dragging in the viewport so
again you just kind of have to adapt
with however if it starts acting acting
goofy you can just
route around that problem and not have
to worry about it
cool
so now we have that done the only thing
i would comment on is possibly
using higher subdivisions at the
beginning because now you can see
there it's kind of faceted here it's not
totally round all the way around
one trick you can try
is hitting three on your keyboard
and that will smooth the
model
in general in
hard surface modeling you'll probably do
that at the very end but you want to
make sure all of your geometry is kind
of accurate and stuff in this kind of
series of lessons about the ghostbuster
trap i'm trying to model things in a way
that we don't have to rely on that and
that we can be a little more sloppy with
our geometry but in this case it works
pretty well
so we can leave it in the three mode and
uh that kind of solve the problem of
this not being rounded enough and i can
you know go between one and three to
show you the difference and if you get
two that's just kind of an intermediate
tries to show you
um the one you had before but because
they're right on top of each other it's
really hard to see
so mainly you're just gonna use one and
three to see the difference between
smoothing something and not smoothing
something
so we have that
let's go back to one just because we're
that's how we're going to model things
let's add a edge loop right in the
center of this thing that goes all the
way around
and that's what we're going to tell
these ribs to follow so we need one
right in the middle here
let's go to the edge loop tool we'll go
back to the tool settings and just crank
this down to one
and that way it'll just put one right in
the dead center of
well
one right in the dead center you can see
i accidentally clicked a few things so i
just hit undo go back to object mode and
we're golden
and i'll get off the edge loop tool so i
don't accidentally make more edge loops
again
all right so now we have this edge loop
let's go to the edge mode by right
clicking and dragging up select that
edge double click it and let's go to
modify
convert
polygon edges to curve
and we'll click the little box on the
end there to get the options
and i want to choose linear because i
want it to follow exactly
where
the the edge loop is i don't want it to
interpolate and get curvy
and
so we're going to choose linear for
right now and convert now you can see we
have a
curve here that follows exactly
the shape
so
now with that
we have something to
add the ribs to
there's a couple different ways we could
have gone about doing this this is one
way another way is using mash which
we'll talk about later which is used for
motion graphics
and you can use mash to help you model
some things as well especially things
that are patterns but this is kind of a
uh a tried and true method and you don't
have to rely on you know some new
plug-in thing that maya you know has
come out in the last couple years that's
it can have its own problem so it's good
to just know how to do things you know
with the bare bones maya tools
and also get introduced to some new
things and this is also we're going to
hack kind of an animation tool to to use
for this
so
i'm going to go to poly modeling i'm
going to make the one rib
so i'm going to scale it down i'm just
going to pull it over here so i can see
it
and scale this all the way down get this
a little bigger drag it over here so i
can kind of see
the size and see you know it doesn't it
almost goes all the way to the edge so
let's just
scale it up to
about there
and then it looks like these are pretty
rounded at the top
so let's just
go to
edge mode and
i'm just going to select everything and
you can see actually if you shift select
things it will deselect things you have
selected
if you want to add to a selection
and you're clicking and dragging over
something that is already selected it's
going to deselect it if you don't want
that to happen
okay if you do not want that to happen
you have to hit control and shift
and now we'll add to that selection even
if you go over an area that you've
already selected but we want to do is
control click and deselect that because
we just want to bevel the tops here
and i'll go from a top down view hitting
spacebar clicking and dragging over to
top view hit f to frame up and control
click the center piece here so it'll
deselect everything go back to
perspective mode by hitting spacebar
and let's go to the bevel tool
and let's increase
let's increase that fraction and
bump up the segments
yeah so what just happened i had on the
slow mode here so i change that to now i
can middle mouse drag in the viewport
with that selected and it will go a lot
quicker
so let's yeah get into something like
that in general you try
you want to try not to add a ton of
geometry if you don't need it and it's
such a small piece and trying to keep it
as light as possible
okay so now we have that piece and it's
going to sit in like this but the big
question is how do we get this piece to
go all the way around
this
object we could
click and drag and try to place you know
duplicate one
and try to place it exactly but that's
super tedious and we want to try to use
the tools to our advantage
so let's go to the
animation window here we've been
modeling now let's go to animation
and let's click the poly curve poly to
curve tool
and let's shift click the cylinder let's
go to
constrain
and we'll go down to motion paths i'm
just going to tear this off
attach to motion path
so what we have now if we click and drag
the timeline
even though we're still in the modeling
course don't get confused uh even though
we're using the timeline and we are in
animation now we're using this to help
us model
so what we've created
is
that this follows the path if i select
these two things and isolate it here
you can see this and you can see it says
120 here and that means you know it's
it's going over the timeline that we had
if this was further out it would have
gone to 194 or whatever
but uh because it was at 120 that's
that's the length of the timeline so
that's what it's doing it's going to
animate over the length of that okay
so we have this
now the thing we want to do is if you if
you notice if you hit play over here
it starts slow it speeds up
and it slows in
slow speed up slow in okay we don't want
that we want it to be linear because
we're going to use this we're hacking
this
we want it to have even intervals
around this piece and we're going to
duplicate this thing
around and if it starts slow here we're
trying to go to even intervals there'll
be a lot more of these at the beginning
and they'll be further spaced out here
so we want this to go at the same speed
all the way around and the way we do
that and again this is kind of animation
stuff but when you learn 3d you need to
know a little bit of everything to to
create things so you can see we have
this motion path here we have the curve
selected now we have an output for the
motion path if we click that we can see
this little red dot and that means
there's a keyframe and now that we've
toggled this down we also have these red
dots on the timeline that weren't there
before
so there's a couple different ways we
can change the handles of this so it'll
be the same length the same speed
through the whole length of this
timeline but to we could do it here in
the timeline but i want you to see it
visually since it's the first time
you're introduced to this stuff go to
windows animation
and we'll go to the graph editor
this will open up a new window and now
we see a motion path 1 u curve and
that's what we're looking at over here
motion path 1 u-value
and you can see it starts slow speeds up
and in slow
so i'm clicking and dragging the kind of
vertex here the keyframe
and i'm selecting this one and i want to
go and hit this straight line here and
it's going to straighten that out
so now we can close this we'll learn all
about animation and graph editor more
later but for right now that's all we
need to know so
if we play this back now it's going to
go the same speed all the way around
when this loops you won't be able to
tell difference with the speed see now
it just goes all the way around and
there's no speed changes and that's
exactly what we want
perfect okay so
if we go back
to
the animate tab here or under animation
and we go visualize
create animation snapshot i'm going to
open up the option box here
and what we want to do is go the entire
length of this thing so we'll add 120
because that's the timeline over here
we're at 120. we'll go start to end we
can also we got we could say time slider
which will kind of automatically do that
so it grays these out but either one
it's the same thing if you change this
number so
we'll say
you know increment will be one
and then
let's say increment two well whatever
let's just leave it at default we'll say
reset settings
and uh make sure we're all at the
default so this selected we actually
want to select the cylinder not the
curve
and let's hit apply
so
when we un isolate this now we we can
see what we've actually made
so it made way too many of these things
so let's let's go and un-isolate this
and with the cylinder selected let's say
an increment of
two now instead we'll hit apply
it'll take a second and now you can see
these ribs and that looks a lot closer
to what we need and what is showing up
here
so the only thing that i would say
is that
maybe these need to be closer into the
object like they're they're poking out
too far so one way we can do that let's
hit undo we'll go to the curve
and let's isolate it and i'll right
click and say
control vertex
click and drag these
so let's hold down d
and x
and
middle mouse snap it to the center so
now when i scale this down
everything should scale from the center
okay
so now when we do the
snapshot we go to visualize and create
animation snapshot
we have 2.2 on and again this could this
value could be different for you this is
just based on the size of the thing that
i made so this will probably be
different for you i'm just taking a
guess at
you know
what will be the right distribution um
for mine
so to kind of lock in these changes now
you can see it's it's all the way around
correctly
to lock in these changes we need to
delete the history so let's go to edit
delete by type
history
and
let's select all of these
shift select hit g
and we'll middle mouse drag them out and
i just let go down here anywhere and
let's delete that snapshot group so now
we have the
ribs
and we have the cylinder
we can delete the original one we can
also delete the curve because we don't
really need all that stuff now so now we
can even just middle mouse drag and put
this under the cylinder okay and we can
also see there's maybe an extra one here
so we can just delete that
so now we have our knob and we need to
place it in the right spot
let's unhide the
trap
hitting shift h
let's select the cylinder drag it out
here
and let's rotate it down
we can see it should be 90 degrees
negative 90 degrees in x
and we can also just scale the whole
thing down and you can see because we
parented the ribs under the cylinder
it's following along with whatever we're
doing and this is called a parent and
child relationship
and we did the same thing with the group
earlier you know that everything is a
child
of this group node so if we move the
group node everything will move because
everything underneath it is a child
and you can do that by middle mouse
dragging things in the outliner you can
also do it by selecting two things and
then hitting p on your keyboard for a
shortcut
so there's different ways to do it but
let's just get this kind of
in the right spot
let me drag it up it looks like
it's tilted to the side a little bit and
it has this black disk here so i'm
actually just going to steal one of
these disks here command d to duplicate
it and also talking about parenting you
can hit shift p to unparent something so
you can see it pop this out from that
group
and we can just scale this up and let's
just bring it over here to the center of
this thing
and
now we can click the cylinder make sure
we just have the cylinder selected and
rotate it so it's kind of at a
an interesting angle instead of straight
down
and now for later we have this disc that
will be able to color something
differently let's see if it goes yeah
almost
all the way so let's just do something
like that
i just kind of eyeballed it it's in the
center close enough you can vertex snap
and do all that stuff if you want
but
that is looking pretty good the next
lesson we will create this top structure
really quickly and
uh you know you you can do the same knob
thing here you can just duplicate this
one out add those and uh
you know but the next thing we'll do is
just finish up this model and complete
the top
and we'll move on to a character in the
next series of lessons about 3d modeling
thanks for watching and i'll see the
next lesson welcome to this lesson in
this next section we're going to
kind of speed model this kind of top
section where the doors will open and
this front element here so i'm going to
model this as quickly as possible and
just kind of talk you through what i'm
doing first off i'm going to make a cube
bring this up and
think about extruding this along kind of
the center here
just to make that
kind of first element
where the doors will open from
and if we look here
there's a ridge there maybe
for now i just want to do this flat
thing and i'll deal with the doors later
i want to get this solid piece that goes
all the way down here and they can come
out that kind of a thing
so i'm looking at where this meets
the other spot the proportion of how big
it is relative to everything else
so
these vertices right clicking and going
to vertex
should snap i'm holding down v
to the edge here and same thing with
these over here
so i'm holding down v
and i have the transform so i'm going to
go to object mode get back into that
and drag this down
look at the reference that actually goes
all the way up to the edge of the handle
it looks like so we can snap these as
well
hold down v
and and drag over
see if we can get it
and there we go
same thing with the
spots here
we want it to hit the floor or the kind
of top of this thing
so i'm actually going to hold down
spacebar click and go to right view or
yeah right view is fine
and then
drag this
up it doesn't have to be exact we could
actually even just crash this all the
way through if we wanted
um which is
what i'll probably just do for speed at
the moment the only thing we need to
worry about though is if we're going to
extrude this piece out from here it does
need to match the top it looks like it's
going to come out at the top
so let's get that aligned hold spacebar
go to right view
and
get that there the reason i'm not using
v is because it's not registering
which vertices to snap to
so in that instance
i just come in really close zoom in with
my camera super close
and
i have the manipulator tool selected uh
for y so
i know that i can zoom in for example
let's say on these vertices and i don't
have the manipulator tool what i can do
is hold down the middle mouse button and
drag and i know it's locked to that
vertical axis so
that's another way to do it
and i'm going to zoom in super close
and get then even hit wireframe by
hitting 4.
and
there we
go
oh my gosh okay there we go
okay hold down spacebar click go to
perspective view hit five
and then we can extrude this out but
first we need an edge
so i need to go to my custom shelf
hit an edge in here
and we have
the
the tools set so it does multiple loops
i'm just going to turn that off
go to the relative distance and just
kind of drag this somewhere in here
and
double click it go back to the reference
it looks like it's pretty close to the
edge so i'm going to drag this all the
way here and what i'm looking at is
this is
going to be extruded outward i don't
know if you can see my mouse that well
but
this needs to be pretty far
to the edge i might have to move all of
this
as well
[Music]
so drag this out
let's just drag
doesn't really matter let's drag it here
and then go to face
i'm going to select both sides
and extrude this out
turn off the tool window here so we get
more screen real estate
and i'm just going to drag this out and
i think it goes oh no it's on just on
the inside
so we'll go here and we'll select these
faces
and we'll extrude it out just past the
edge here
so we'll extrude again
just past the edge
and
then it looks like we'll extrude again
and then scale it down
so let's hit g because we can just
extrude again
and
then i'm going to hit r to go to scale
scale this down
to get that
edge there it looks a little more blocky
than what i have
so i'm going to bring it out a little
more
maybe scale it back
that looks closer
then we have the flat edge and then
this one comes out
there's a little corner here
so
that one also goes down
so
we can make an edge loop here
and
extrude out that face from this corner
and this corner
so we need an edge loop that goes here
and we need an edge loop that goes
down this area kind of that would cross
this axis there and there and we might
actually be pretty close with these
let's see
that distance i'm looking it might be
actually this one is pretty darn close
only problem is when we scaled in
these um
these scaled and with it so we can scale
these back out
and it looks like we might have
a situation where we
yeah
oh the faces weren't kept together
that's why
so let's undo this
and this is an important part of uh
extruding and keeping the faces together
when you need it so let's go back to
extrude
and keep faces together is off
and i just wanted to take a second to
show you where to change the defaults
for
the issue that i'm having with uh
setting the
keep faces together on if we go down to
modeling
we can say
keep faces together and that's going to
be the default now i'll hit save and
that's that
so when i hit extrude
i'm going to turn on keep faces on now
so now
it will behave correctly
and
because i know we're going to want to
extrude
this next one by hitting g
instead of scaling in
on all the faces so that these edge
loops stay straight i'm just going to
grab
these two edges
and scale them in
because i want to keep those inward
edges
straight because what we're going to do
now is add an edge loop here if those
were crooked it would follow it here
right we don't want that so to get an
even edge loop on both sides
we go back into the tool
and turn on multiple edge loops and
crank this up
and there we go and then just double
click
all these
actually we want that's the one we want
to keep
so i'm just shift double clicking all of
these
really quickly
and it may seem tedious but it's a
surefire way to know that they're evenly
spaced
so i'll leave that last one shift right
click drag delete edge
and now we have that kind of buffer that
we can extrude
this
other piece from
so i'm going to select these
and
you can actually see where i made room
for here in between the last lessons and
i added this plate and we can move that
later to match this width
so i'm going to hit
extrude again
and make sure keep faces together is on
and because they're all going in kind of
different directions i'm going to use
the slider here
and just crank up the thickness
and now we can kind of play let's look
at this
this is a flat edge so it's more of a
triangle
and
same down there
so there's a couple of different ways we
can go about resolving that triangle
let's
[Music]
do a little multi-cut
i think this is the right amount of
distance
that's what i'm this kind of piece here
could be pushed back
a little bit it looks like here
i don't really care about this face
being
a weird angle now because i'm going to
delete it in a second anyways i'm just
looking at this gap here making sure
it's the right
distance all these little things add up
right
you know
again we're just kind of approximating
this but those little details are kind
of nice to to hit
so i'm going to delete these faces here
in a second but what i'm going to do
first is use the multi-cut tool
and just draw a line
between those two areas and create a new
little triangle here
and you'll see why in a second because
we're going to delete all the faces up
top
so i'm going to go to the face mode by
right clicking dragging to face
go to q or w
i'm going to turn this off
and
shift click these faces and delete them
we can also take those away delete those
and it looks like i snagged
a straight face here
and that's one thing i just kind of do
by habit i like spin around as soon as i
delete faces because
i want to make sure i didn't do
something like that
and if you're using four you could also
toggle on four real quick and you'll see
that kind of red area pop up as a
selection
so then we're going to use the append
polygon tool
click an edge in here and now you can
see the area the arrows working a little
better and which direction we need to
click the edges
once we get that flat plane now we can
hit enter
so we do have this kind of weird normal
issue that we have dealt with before
we can address that later with the mesh
display
options that we showed in a previous
lesson
but let's just keep finish finishing up
the model here i'm going to adjust these
by going to the vertices
and
clicking and dragging those
and i almost want to scale those out
i think because it's going to be such a
small amount it won't matter but
scaling bevels like i mentioned earlier
is always a little dangerous because the
bevel's going to change
but because
it's such a i'm scaling it by such a
small amount
and it's on the inside of something like
you would never really see that anyways
so let's go back here and we're seeing
that
this is below here and this goes in at
an angle
so
i think this is more supposed to be up
here but still below this area
and
we can just
select these and drag those in
and
down because we're just going to crash
that right into the other model just for
speed sake you don't necessarily have to
attach these things and this needs to go
way closer
to
the edge i'm
control shift
dragging because again if i were to
shift shift select that it'll deselect
it so
again shift
shift drag it won't select everything
you have to control shift select
control shift uh drag to select that
stuff
so it shifts like this
drag it in
[Music]
the one issue you can see here
remaining is the fact that
because we didn't click
that last um
edge here it didn't line up with this
vertice and that's something we can fix
pretty easily and quick here in a second
so
i'm going to get the multi-cut tool
and go based off of this vertice i'm
just going to click this over here
somewhere
it's going through the model
look away from it so there's nothing
behind it
and enter
and
then i'm going to select that and vertex
snap it by holding v and middle mouse
dragging over to that vertice
and now we've got it
and
here's a new thing that we're going to
learn is how to merge vertices so i'm
going to shift
uh sorry i'm just going to click and
drag select so i know i have both of
those vertices selected i'm going to go
to edit mesh merge
and there's kind of a threshold distance
so depending on the scale that you're at
it may or may not work but uh you can
hit apply
and then you can see that the normals
kind of change they flash there for a
second so
that makes me think that it worked
but you can always test it by dragging
uh an edge or something around
and uh oh it thinks i have something
clicked when i don't it's always fun
so
to make sure this gets in line
we can um
just drag this up for now let's see is
there a no it's a straight line
so we could eyeball this or we could
just delete this and redo the
append to polygon thing
so that we know it's a straight line
but
i'm not too worried about it it's pretty
pretty straight based on
you know my eye at least it's pretty
darn close
okay
now we have this kind of interior face
set up
we can extrude that out or we could
model it
on its own
it really depends on whatever you want
to do
but um
the other thing i want to go ahead and
do is just bevel all of these edges
so i'm going to go ahead and
also make this thing before i do that so
i'm going to select this face
and extrude
and then i'm going to scale in slightly
in this direction
and
and in that direction maybe
and i'm going to hit g again
and it doesn't matter if keep paces
together on because it's just a single
face i'm just going to smash that
through
and
we could also make it a deeper hole if
we wanted to by doing the same thing
here
so
let's isolate select this piece i'm
going to go to the object mode select
that piece and go to isolate select and
we can see
we have
a lot of faces here that we would need
to extrude down
so that's something you can do as well
to make that a deeper hole but i think
where we so i'm gonna undo isolate
select and
we can pick this up in the next lesson
where we will bevel these edges create
the doors maybe clean this up so we
don't have this issue and uh
in a later lesson we're going to make a
cord for this thing
and
yeah so we're moving right along thanks
for watching
welcome to this lesson where we will
finish up this front element and the
doors
and i want to talk about this issue it
basically has a weird visibility issue
just because there's one face right on
top of the other as soon as you click
one or the other it'll show the one
you've clicked but that's why
when you don't have either clicked and
you look around it's kind of a weird
view let's
deal with that we can isolate select
this thing like i was mentioning earlier
and go to the face
and select these
ctrl shift select those little corners
here which are probably going to be
proved to be an issue
we can deal with those in a second
control shift select anything that we
don't need hit four to make sure
we only have that top selection selected
and go to extrude
and keep faces together and let's just
pull this down and see what we get so
far
we go back to shaded mode so we can see
so that looks pretty good i'm going to
undo that and maybe just
scale these in a little bit
so they're not right at the edge and
then redo that and make sure keep faces
together is on and now i'll drag it in
so now that we have this a little bit of
a border there
let me make sure i didn't undo
not far enough back it looks like
oh this is the issue because these
aren't uh
these aren't following along here
so let's just drag it down for time sake
because we have
we already have uh
the top area modeled when we un-isolate
select that we can see
we're good there we can just drag this
one back up
and actually just uh vertex snap it
so let's go to the front view
actually i lost my selection there so
i'm going to go back to select that go
to the front view
and
we can hit
w or sorry we can hit four
to get the
sideways view and just drag that back up
to be even go back to perspective mode
right click to go to object mode hit
five
and now we can see
we have a deeper hole here
but uh
yeah let's go to isolates like that
and
oh the main issue is it's it's uh
extruding through itself so we're seeing
the back side of the faces so we can
just delete this face
and there we go and that solved the
problem we can just drag this one down
as far as we want
and on isolate select that
we can see this issue here with the
internal piece
so we can resolve this
you know if we want to it
depends on how much you're going to see
this stuff you basically don't want to
spend a ton of time modeling things
you're never going to see
is a big rule
with modeling because
if you work for for a studio or
something and you spend all your time
modeling something no one's ever going
to see
your supervisor is not going to be too
happy
so it's all about what the viewers going
to see from the camera angle and
if you're working on a show or a movie
they are going to tell you
exactly what to model hopefully
sometimes that changes you have to adapt
to that but
so now we have this front element and
let's
kind of call this good
maybe pull this edge
back a little bit is slightly annoying i
just shift like that hit four to make
sure i have nothing else selected
just drag that back a little bit
hit five
cool we don't see that
go to object mode
and
so now i want to take this element and
let's see what we get if we just bevel
this whole thing i think we're gonna
have to select edges but just for time's
sake
yeah
i mean it's pretty close
we're adding a lot of geometry to this
thing unnecessarily so
i'm gonna go back out and get a little
more specific with the exact edges i'd
like to bevel if we look at the
reference it's kind of all of these
outside angles
are beveled
so
i'm just going to grab those
[Music]
and of course the top edges here
and let's see we could do we could do
the bottom edges as well
and i'm choosing not to merge these you
could spend more time on this and merge
these so they're not separate pieces but
for our for time's sake
trying to keep this tutorial shorter
and not keep going on and on
[Music]
i'm just choosing to do what i think is
fastest for us and you're still learning
a little bit
so
cool now we're almost to have all of our
selections made we just need to
go down this edge this edge this edge
this edge
and
this one this one
accidentally selected that one
and
that one
i grab that
cool
yeah i'm gonna go ahead and grab that
one
i'm gonna go ahead and do those i think
uh
you know it should be flush with it but
it's it's a much more pain about to try
to bevel things after the fact
because
the number of lines like where they meet
won't line up
and it just creates a lot more work
so i'm just going through tumbling
around this thing making sure we have
all of the angles i'm gonna maybe grab
this one too
all the angles covered here now let's
bevel this so let's go to the poly bevel
we can also hit t to pull up the options
here
and let's just add one segment and call
that good
and you can see the issue when we
beveled this of course now it's not
flush
we can resolve that
in a couple different ways we can just
pull out this edge
and because it's on both sides probably
going to scale it
that's a little bit of a sloppy way to
do it but uh you know it
gets the job done for speed sake
instead of having to merge this stuff
what you could do is go in and add a lot
of extra edge loops here
so we could add one here and then we
could delete faces and then merge
vertices where these points meet that's
how i would merge all those together but
then you know since we beveled these now
we have a lot of edge loops to do
and i think for our purposes of just
learning just beginners you know trying
to discover what modeling is all about
um i don't want us to get in the weeds
too much on that stuff
so we have a nicely beveled
piece here and we can
just maybe extrude these two faces
for this front plate element
so i'll go to extrude keep faces on
and
sorry i want the offset to try to bring
it in
just a little bit and then let's hit g
again
and keep faces on
just drag this out a little bit
[Music]
it looks like that should be
way closer to the edges so i think we
went too far on the offset
let's go
offset like points you know we could
click this thing here
and now we middle mouse drag it'll be a
lot smaller so that's probably the best
option for us
so then we can hit g again so now we've
created this little separation
of these faces
uh we can go back
and extrude this out and see how far out
it comes not super far
it seems like a really beveled edge
though like super smooth
more than what we just did
so
let's do that
[Music]
bevel
hit t
or sorry we need to go to bevel edge
first and
now we have it and we can increase the
segments here
now um i need to speed this back up
because it's
it wasn't really working that well
it was going so slow
so now we have this element
modeled
i think what i'd like to see though i
hit t again
i think that fractions maybe is too much
or we need more segments it was kind of
too faceted you could see the
edges
a little too much
cool
so that's done
and we can extrude this center face and
it looks like it kind of slopes into it
maybe
from the top i don't know it depends on
how how your how you view this image or
what the the reference you you find
and use but
i'm just gonna do the same thing we just
did extrude keep faces on
turn dial this down so we can get a
little more specific on the offset
middle mouse drag here in the center to
get the offset
and the ballpark it's pretty small and
it looks like it's kind of
thinner so i'm going to scale it in this
direction
but that it's still in the center
we need to drag it up a little bit
[Music]
so
i'm going to pull this out
just a touch because that's
looks like what's happening
in the reference so it makes our bevel a
little wonky because it's trying to get
flat at the top here
and we can just delete those top edges
so it's more gradual
so i might do that go to edge
select these
double click it should go all the way
around does
right click go to delete edge
so now it's more of a
more of a gradual if you look at this
profile it's going in there a little
better
so now we have this plate
extrude this again
so let's go to extrude
pull this out
extrude hit g oh we need to keep faces
together though
extrude that again by hitting g keep
paces together
increase the offset here
it looks like right yeah
let's
let me go back here
hit g again extrude again keep faces
together
just smash that down into this thing i
don't know how far it's hard to see from
this angle how far that thing goes down
let's go somewhere like that
[Music]
and then we can just bevel these edges
and kind of call it a day
on this stuff
and in the next lesson i want to show
you a very interesting way
to model
a chord something that kind of has like
an organic shape to it and
even though we're doing hard surface
stuff
a lot of hard surface things like
mech type things have
cords associated with them
so we want to make sure that uh we know
how to do that if you're interested in
the
hard surface
uh kind of arena
so i'm just going to increase the
segments there
go to object mode so i'm going to see it
in
shaded and it looks like we just have
like a normals issue here
it doesn't know which way to pull
the other thing we can do is add some
more
geometry here
with the multi-cut tool and hopefully
that will alleviate some of the normals
problems
because as i mentioned earlier
maya doesn't really like triangles and
we just created a couple there
but if we put that down
we're gonna make another one so
i might just leave that as it is just do
these two
cool
so i think you know if we go back
through and uh do what we did in a
previous lesson to
resolve the normals issues with mesh
mesh display let me just do that super
quick set to face
so that actually looks pretty good just
by going with the
averaging the faces if you wanted to get
more specific with that you can do that
but it's really just for our purposes
and viewport when you create renders of
this those
normal faces won't matter as much
but we got this done
and i'm going to quickly create
the doors super quick
i'm gonna drag this up
and
i'm gonna vertex snap this to
one side and then vertex snap
this to the edge and i held d and v to
change the pivot of course and then
i held v just to transform it to the
side here
so that it will all scale from this
point
and again i could i can um use the
vertex snapping here
or i can just kind of eyeball it because
they're you know anything mechanical is
going to have a gap there so it can
not exactly rub up against things
one thing we want to make sure is that
these in the center
are in fact in the center so let's go to
the right view
and hit four
and now we can see the center line if we
hold down x we can snap to the grid
so now we know that's right in the
center
and we can actually just pull that back
just a touch so
again there's a little bit of a gap
there
and let's right click object mode
and hit five to go back into shaded
scale this down so the door is more of a
door size
and bring it up
to the top of this edge here
so it looks pretty good
the last thing we need to do is of
course bevel this thing just a touch so
i'm actually just going to leave it on
object mode and go to our custom shelf
click bevel
and i'm going to go pretty
small on the bevel
and bring back the fraction
so it's just barely
beveled just so it's not
a very hard edge there
and then what i'm going to do is
duplicate this by hitting command d
and
what i can do there's a couple different
ways you can do this you could scale it
and negative in this direction
so we go negative one
so it flips it around and then we can
hold down v and snap it to this other
side
so it should
i think we're snapping to the wrong
thing it's snapping to the bevel
one of the bevels instead of the
the edge there so let's go to the right
view
hit four
and
just snap that
to the inside
so now we can see in the center here
they're equally
far apart from the middle we might need
to adjust that a touch
let's look at this
let's just bring those in just a little
bit
so we can click both of those and hit r
and then just scale from here since it's
just a small amount that's not gonna
really hurt the bevels that we did
just kind of close that gap just a touch
cool
so now we have our uh ghostbusters trap
pretty much we can add these little
rivets that we put up here
if we'd like
we can
add this back element
you basically at this point have all the
knowledge you need
to model this back area
and and then in the last lesson here
it's going to be very short we're just
going to make this a cord that can come
off of the back of this thing
so i will show you how to do that in the
next lesson thanks for watching
welcome to the last lesson in the series
of creating this ghostbuster trap in
between the previous lesson and this one
i just made this a little back end piece
here
and i just basically did that with all
the techniques we've already learned
extruded the top of it to make this
little kind of a rim and then i beveled
all the edges and i also added this
little kind of a wing here
so i added edge loops here
and then i beveled those kind of corners
there
and then finally i made this little
piece that sticks out the back and this
is basically a
cylinder then i reduced the
number of subdivision axes down to eight
to make it more like a some kind of nut
that you would have to screw in there
and then this is just another cylinder
that i extruded out and then beveled all
the edges
to make this kind of uh port for the
cord we're gonna make in this lesson so
that's just an update on you know some
updates i did that you know you've
learned all these techniques already
same thing for finishing out this other
side based on the reference
you know
you've easily already learned how to do
this little panel so
i'll leave that up to you to finish out
this other side with all the technique
techniques we've already learned
um i also added a little uh
thing here that i've seen some reference
since just a cylinder beveled edges same
same kind of thing so let's learn how to
do this chord
let's first revisit the idea of curves
we did in the previous lesson
and that's going to be
basically the template for how we're
going to extrude a cylinder over this
curve so let's go to a top down view
so we can see kind of where this is
going to come out i'm going to hit 4 to
see through this thing so now i can see
where it's going to meet down there i'm
going to go to the curves and services
kind of tab here you can also go to
create and go to curve tools you can get
the same kind of tools here
so you can see the the similarities
there i'm gonna go to the ep curve tool
and open up the tool settings so that i
can see that we're on three cubic so
it's going to start to interpolate kind
of a rounded edge there as after i go
three points
so i'm going to hit x to line up on the
uh grid and then
i'm just going to kind of uh
make
a swooping kind of a curve chord
path here
and this is just going to kind of trail
off in the distance you can
make it be whatever you'd like it to be
but
and of course
i'm going to hit enter and then you can
always edit this later by right click
and go to control vertex and then drag
these around
if you want to change the kind of curves
that you've you've made and we're going
to need to do that at the
insert point here because it's not
matching where it's going to be
inserting so when i go up here
and lift all of these
and
then bring this one in
and have this kind of secondary one
make sure that it's going in straight
you can also rebuild the curve if you
didn't make enough points you can see
how it starts to kind of get a little
jagged here it's not like super smooth
so you can go to with the curve selected
you can go to
curves and then down the bottom there's
rebuild you can go to the options
and uniform you can set the number spans
all these different types of options but
that's kind of the most common just hit
apply you can see how it curved out this
thing here i'm going to undo it and then
redo it
and
so you can see it a little better i'll
zoom in here
so i'm going to redo it and you can see
how that kind of curves and finishes it
out but the only issue is now when we go
back and control vertices there's
there's a lot more
vertices to control so it's good to kind
of get this uh working
uh before you add a ton of vertices that
then you have to control if that's the
case and you have a ton of vertices you
can hit b on your keyboard
and that turns on soft selection you can
hold b and middle mouse drag in the
viewport to increase or decrease that
soft selection area so that can be
helpful if you have a ton of points to
drag around so i'm just going to do
something like that
and
we can adjust this later as well but you
roughly want to get this in the center
of the thing
and um
you know when i have a shape that
respects gravity and the weight of the
cord and all that kind of good stuff so
um
we may need to get this on the ground
sooner kind of a thing
but uh yeah you can mess with all that
after the fact as well but let's get to
the meat of this thing where
we need to
extrude an actual curve over this thing
or sorry extrude a uh
cylinder over this thing
so i'm going to turn that off close that
down and so
now we need to create a
poly model and grab a cylinder
and i'm going to
i know i haven't selected because i just
created it but also because i can see in
the outliner so i don't have to like you
know visually see it over there to know
that it's selected
so i'm going to hold down c which snaps
to curves and middle mouse drag that
there then i'm going to rotate this down
and maybe scale it down a little bit
and roughly get it in line
with this thing there's a couple
different ways you can extrude curves
you could you could grab a circular
curve and do this as well but then you
would have to convert the
nurbs circle to a polygon
which is under
modify
convert nerves or polygons but uh let's
just do it with a polygon first so you
can see
how that is done i'm going to select the
faces of the polygon
i'm going to hit b to turn off soft
selection
control click and deselect the ones i
don't need
i'm going to shift select the curve
okay
and then i'm going to go to
extrude
let's hit extrude
[Music]
and
you can see something happened but not
exactly what we wanted it looks like
there's a face now at the very beginning
of this curve here in the center
i'm going to turn on keep faces on as
well
so we can see it so if i hit 5 you can
see it kind of goes inside that's
because curves also have directions i'm
going to go back into object mode so i
can select the curve
and we need to reverse the direction so
if i go to
curves
reverse direction
now you can see the end of the curve is
considered down here so we extrude it
it's going to go in that direction
problem is it's not really respecting
the curve that we drew so we need to go
into the extrusion
options here i'll hit t
and we need to increase the divisions
and as we increase the divisions let me
just turn this pie wheel back to a
normal speed
as we increase these divisions you can
see
that it's actually beginning to
make the chord
and that's just because it needed more
information right so
this slider will max out 25 but you can
type in a higher value we can there's
actually a taper value here as well that
you can mess with and a couple other
things so
basically that's how you make a chord
and the things to keep in mind is these
subdivisions are
based off the distribution of the cvs in
the curve so if we hadn't have rebuild
the curve
the distribution here would have been
not as accurate you can see
here
uh there are less
there are less points here there's less
edges here because there's less points
in the curve
if i go to uh let me isolate it so i can
right click on it and go control vertex
you can see
that there's a big gap here between
these two so that's the same it'll be
reflected in the edges of the cylinder
there's less here than there are over
here so just keep that in mind
if we drag this over it'll kind of group
them you know and that's you can still
edit this stuff after after the fact
until you delete the history you can
edit this stuff
so
the other thing we need to do we can see
if we can go into the poly cylinder and
and change the original radius and we
can which is a super nice thing about
keeping the history is even though this
was
we've done a lot of things to it since
we created the cylinder
this first piece of history takes
precedence right
so we can still have that i'm just gonna
hit five so we can see this in shaded
mode
and the other thing i might do is
rebuild the curve again
so that we get a little more definition
here in the chord so you can go to
curves
rebuild and let's just crank this up and
hit apply
and
then we'll probably need to increase the
extrusion
the subdivisions
and it totally spazzes out and it turns
black because uh
so this original one
uh sometimes this happens
so you want to keep in mind that you
can't do more subdivisions than
you know are kind of allowed here from
from the beginning if we go
uh
i minimize drag so it goes back to the
the max default you can get by middle
mouse dragging but if we keep increasing
this and this edge here
goes past this one it'll flip
the
edge around itself so then it flips all
the faces inside out so if you get this
black thing you've created too many
divisions
so let's just go right before that
happens
and now we have this kind of smoother
looking
curve and then we can also again
[Music]
go to the curve and
push some points around if we
still want to adjust
where the
kind of density of the edge loops are
getting concentrated
cool
so that's how you extrude an object make
a chord something like that most uh mech
um
and hard surface models have chords of
some sort
and let's just uh
right before we sign off here let's just
make sure we
get the
poly cylinder
radius correct
something in this neighborhood is a
little closer
0.5
cool and then
i'll shift select the curve
isolate it and go to the control vertex
select the end one hit b
let me drag this out a little bit
and
un-isolate that and then just get that
right in the center there
so there you have it we have created the
ghostbuster
trap
and we've done it with hard surface
modeling techniques
in the next series of lessons we're
going to cover
more organic modeling techniques and
we're going to create a character that
we will eventually use to rig and
animate
in later lessons we're also going to
revisit this model later on and texture
it
and maybe do some animating on this as
well
let's see what we have in store for that
later
but uh great job in following these
lessons if you've gotten this far that's
quite an accomplishment and it's a lot
to take in
so just take your time and re-watch
these if you have any problems
and
you know you can always pick up wherever
i'm just middle mouse dragging all this
stuff into the top group so it's all
organized
just you know know you can come back and
watch this stuff and ask me any
questions
that you may run into because uh yeah
this stuff's not easy and i admire
you guys trying to learn this stuff so i
appreciate you watching and good luck
thank you see in the next series
hi and welcome to this updated lesson
with maya 2022
coming out just today i wanted to go
ahead and make an updated video that
shows you an even better way to make
cords ropes wires all that kind of good
stuff they actually came out with a new
method which i want to share with you so
we're going to use the ghostbuster
example and replace the chord that we've
previously made in the course
so i'm just going to select that
geometry and before i do uh delete it i
just wanted to you know mention
notice the issue we had here previously
using the extrusion method along a curve
you always have the problem of that
extra little bit that you extruded from
and then also the possibility of
flipping normals of the faces if you
adjusted the curve later and that seems
to be
pretty much resolved with this new
method so let's select that geometry and
delete it if you're following along with
the course project files
and i'm going to select the curve and
kind of weirdly enough this new feature
is not in the mesh controls it's
actually under create
so if you go to create you have sweep
mesh i'd be curious to see if they leave
this function this operation here
because it seems a bit out of place to
have on the create menu i feel like it's
a mesh operation but anyway go to create
sweet mesh and boom you have your cord
no fussy extruding along a curve and
creating divisions it's pretty smartly
creates the geometry for us and we have
all these settings now in the attribute
editor for this sweep mesh creator so
let's run through a few of these
obviously first we can see that it's too
big so we can go to the scale profile
and the default profile that we have is
a poly profile
and so we can just scale that profile
down until we have the correct
size for the cord that we want so it's
not intersecting the ground anymore
roughly in here somewhere and then we
can see if we turn on the wireframe on
shaded that it's a bit rough not just in
the profile but also in the along the
length so let's address both of those
issues with the resolution of the curve
or the mesh that the curve is making
so we can get to the sweet mesh creator
tab here and then we can increase the
sides of the circle so that that is
solving the profile issue the resolution
there and then if we scroll down to the
interpolation tab here we have mode
precision on and we can just increase
that until we have enough subdivisions
along our curve that it's no longer kind
of low poly looking so that's the main
kind of points here and to really get
back to
the one we had before we can just click
add caps and we're kind of done
so
that's really a much more efficient way
i think to create a curve
or a
rope than the extrusion method that
we've learned previously let's take this
a little bit further though because
there are some really cool options here
to go even further than just a simple
chord here let's say we wanted a braided
rope or we wanted to create the interior
wires of of a cord we could click the
distribute button here and now we have
the option to add the number of
instances let's say let's imagine this
is the interior of a cord
and we wanted you know wire splaying out
this would be the way to do that or if
we wanted a braided rope we could do
that very easily as well all we have to
do to get the braided effect is go down
to the transformation options here and
then just increase the twist of this and
of course we can take that past the soft
limiter of 2 and type in a value that we
want of course with 90 we can see we've
kind of broken the model and it's
intersecting itself so that just gave us
a better range to now adjust this down
to something that makes sense for the
subdivisions we have and the length of
the cord that we have here so this is a
really easy way to create a braided rope
i can also turn off the wire frame so
you kind of see that now the other thing
we're left with is the fact that now
these are kind of separated from one
another we can click on the sweet mesh
creator to get back to the menu we can
basically adjust two values one is the
scale of the instances so now that they
start to kind of intersect each other
and connect with each other the other
issue though if you want to kind of
compensate for the fact that you've
scaled everything up you'd have to go
into the scale profile and then bring
that down so we can do that to maintain
the overall profile of these instances
at the same
kind of scale so you'd have to kind of
tweak these together to make sure that
you're overall not scaling everything
too much and so those are the two things
you'd want to adjust obviously there's
these other kind of
distribution types that you can
experiment with to get different types
of effects the other noteworthy
adjustments here you can make is a
really cool taper
here that i think would be useful for
hair you know if you're doing some kind
of uh
who knows what but it gives you a lot
more control than previously where you'd
have to i don't even really know how you
do this previously but this is a really
cool effect something you know
it's kind of small to improve upon but
they really went far with it now the
other suite profiles are pretty
self-explanatory they just give you
different modes to adjust the profile
that it's using you know something even
like a rectangle could be turned into a
sphere just by adjusting the corner
radius for example but so uh you know
and this is a road if we turn off
distribute we could see and turn off the
twist
we could see you know this could be
something
just to create a path or a road very
easily on using the line method here and
then of course we have an arc which is
just like a semicircle very quickly easy
easily to do and then we have a wave
which would be you know maybe the gutter
of a sidewalk or something but it's
pretty nice that they give you these
most common scenarios here just at the
top menu and it's very kind of user
friendly
showing these icons like this now the
final one i wanted to touch on was
custom and it was a bit finicky when i'm
when i'm playing with it let me show you
obviously it's going to take a custom
curve that we define
if i just draw one out
let's just say something like this
and i go back to the mesh
and the sweet mesh creator
i can choose this custom and it will pop
up this new window that asks me to
select what curve i want to use as the
profile once that's selected let me turn
back on the wireframe on shaded to show
you kind of what i mean
the profile that i drew was the cubic
interpolation so it's it's smooth but if
you look at the profile that we're
getting from this it's very rough
let me just close this down so you can
see the profile of this thing
you can see it's
pretty low poly
and the only way i found that that would
be improved is it appears that this
option is actually controlled by the
relative scale of the profile which is
kind of surprising it wouldn't just take
an absolute kind of interpolation of
this so what i mean is because this is
relatively small i guess for however
it's determining
that scale factor is if we scale this up
at the control vertex level so if i just
take these and i scale these up you can
see it starts to add more subdivisions
so now it gets to be a lot smoother so
it's based on the relative scale
you know maybe it's the link relative to
the length of the curve it's being
sweeped down i'm not really sure but
just know if you're not getting the
right result for the custom it's
probably because the scale of the
control vertices again i'm not scaling
this at the object level i'm scaling
this at the control vertex level you can
see if i scale this up at the object
level it's not changing at all you got
to do it and go into actually edit the
control vertices and scale those up so
that's kind of one finicky thing i
noticed experimenting with this and then
again obviously the way to counteract
this is it scaled up the entire thing if
we just want to scale that down we can
just scale it down through these
attributes here and get back down to the
size that we wanted but that's something
noteworthy to look out for if you want
to use a custom effect i think this
would be great like if you're doing you
know corner trim in a room and you're
modeling a room or something be a great
way to get a custom trim sweeped along a
curve
instead of using the old extrude method
so i'm really excited to use this in my
next project so hopefully this is
helpful for you and you get some cool
ideas to use in your own projects thanks
for watching and i'll see you in the
next lesson congrats on finishing the
course i hope you enjoyed it if you want
to take the entire thing click the link
in the description and we can make this
character together from scratch and
create this whole animation from
modeling texturing rigging animation and
effects and so that's what you can get
from the entire program now if you're
interested in learning animation i have
an entire
kind of mentored program called
animators journey and that specific deep
dive into only animation right if you
want to work as a professional animator
like i do at big studios that is where
i'm teaching everything i know about
animation is an animator's journey you
can find it intermediatejourney.com
so i'll see you there or hopefully in
the full course and thanks for watching
the free course best of luck in your
journey whichever direction it takes