Transcripts
1. NURBS Modeling with Autodesk Maya | Intro: Hi folks, NURBS modelling. What are NURBS? Mathematically excellent and simple surfaces and curves. And they are crucial for industrial design. All the soft surfaces in cars, coffee machines, whatever, they come from NURBS modeling. And I've known NURBS since version 1 of Maya, so for long time really. And I wrote books about computer animation. I taught computer animation at two universities in Germany. And I did the first computer animations for German children TV. That's my sort of expertise. But forget all about this. We're going to dive into NURBS modeling in a twelve part course. I think you'll enjoy it. And this course is not only for my experts, it's for everybody who is interested in this because at the beginning of each session, I will introduce a little part of the my interface. You get ready for everything basically. And after 12th classes, the 12 sessions, everything will be in your brain and in your mind and feed your creativity. So I hope you enjoy thi. I need to get on the road again.
2. The Maya Interface and your first NURBS object: Modelling NURBS with Autodesk. Maya. Welcome to this class. Nurbs modeling with Autodesk. Hello folks. I know many of you don't know Maya, but are familiar with some kind of computer animation. You know maybe Photoshop or whatever. That's why I start every part of this 12th part series with a brief look into the interface. And the first thing today we're going to do is: how do I navigate this 3D space? When you click, left-click with the mouse here, you just select something, but there's nothing to be selected because we have only the three-dimensional grid representation. But when you press and hold the key, ALT, the ALT key. And then with the left mouse button, you rotate around that scene. It's a virtual camera which we have and we rotate it around the scene. And this is basically the same with lots and lots of pieces of software which deal with 3D visualization. So it's the Alt key and the left mouse button. When you have the ALT key and the middle mouse button, you do these kind of things. And with the right mouse button, you zoom in and out. Actually it's not zooming, it's moving in and out. Because our virtual camera actually is moving in the scene. It's, by the way, it's this camera here, perspective. And here is the set of objects we have in the scene. And when they are grayed out like the perspective camera, we don't see that camera icon. We don't see a top camera up here, for example. So when you navigate the scene with the Alt shortcuts, you basically already deep in the 3D world. Now we'll create a NURBS surface. And I show you a very simple way to create a NURBS surface. And then we'll render that. Because it's important, even in the first lesson to actually see something beautiful. What we'll do now is we'll introduce one of the so-called primitives here. And here you have the tab curves and surfaces. If you don't find it here because you deactivated it, one of the other ones. Go here to curves and surfaces. If you don't find it, you always can go to the create menu. And here you can create NURBS primitives. It's the same selection as these icons here. And what we'll do now is we create a torus. So I just click on this torus and the torus lands in the center of the scene. Now, again with the Alt key and the left mouse button, I can rotate around that scene. And with the right mouse button, I get closer to it. You can use the mouse wheel as well. This is the mouse wheel on my mouse here. It is possible to use the interface and treat the interface nicely with a graphics tablet, but sometimes it's easier with the mouse. Okay, we have a torus and this is a NURBS torus. I want to show you something which is different from the polygon world because we have two kinds of paradigms in the 3D modelling world. And one is the NURBS world. which is older, actually, at least in Maya, because Maya started out with nurbs modeling only. And the other one is the polygon modelling world, which is here. And here you have a torus as well. Put it on in the same place at the center of the scene. So it looks quite different. And the main difference is that you have a complexity of little faces here. Whereas in the NURBS torus world, you have very simple descriptions of curves which basically describe the whole object. Whereas here you need lots of informations about describing that object. The nice thing about these polygons, polygons, 1234 edges here. The nice thing is that you can use them in computer games for 3D printing, etc. But the NURBS world, which is elegant because of its simplicity and elegance, you can always convert them to polygons. So I have the torus selected here and I deleted. So it goes away and I see my NURBS Taurus again, which looks basically the same, but it is a totally different object. If you save that scene, the scene file size will be really small with the NURBS world as opposed to the polygon world. So I click on it and I see the simplicity again. Now, NURBS modeling is very simple and it has not many tools and we use all the tools in this course. But today we'll only do one thing with this object, which is that beautiful NURBS object, which we cannot do with a polygon because it's described, this object is being described by these lines here, which are called ISOPARMs and these ones, and you can make the torus very simple really. And for that purpose, you have a look at the, what is called the attribute editor. It is the editor for the attributes of this object here, there are a few tabs and I won't talk about the specifications of these tabs really, we need to make. NURBS torus one. And if you don't see this, because you for example, see, let me see, Let me check this. For example, if you see this here, which is the channel box, it's called Channel box. Forget about it. You just go on the side here and defined the attribute editor here. Or you can toggle these things with Control A, whatever. So makeNURBStorus. That's what we need and we have a start sweep and an end sweep. And when you reduce the end sweep, you open that torus. If you type in an exact number like 180, you have a half torus. When you change the start sweep, it starts minimizing that torus from the other side. And then you have this object here. Let's type in 90. We have a 90 degree remaining part of a torus. Now we want to visualize it properly with a nice slide because this doesn't look really fancy, but it is quite elegant to put a light on it. And the way to do this in a very simple way and very effective way, which makes a cool look actually is this. We go to Arnold. Arnold is the default renderer. If it was developed in Spain, it's an excellent rendering tool. There are other excellent rendering tools like Blender in the world of 3D animation. But Arnold comes free with Maya. So concentrate on Arnold here, light and lights. And under lights you find several lines and one is the sky dome light. The sky dome light is so easy to use because you don't have to place it anywhere in the scene. It just sits, it wraps around the whole scene. Once I click on this, you see this greenish thing. And when you zoom out of the scene, you see this is the big light dome. And actually we can just render it now. And Arnold render is the top entry here. And this is the object you get. Of course it does not look really very cool. But this is the rendering with a flat light which wraps around the whole scene. Now let's make it slightly more fancy. I close this window here, and that's why we introduce what is called a material. Currently the material is a gray opaque shader, which is a bit dull, but that's the standard shader which comes with all objects in Maya. So when I click on it and have a look at the attribute editor here, all the way to the right, you have this tiny arrow here. You see a Lambert one that's this gray. Color, which we currently see, and leave the Lambert shader untouched. Because you want the next object to enter the scene in that same gray. Because you're used to it and you'll get used to it and rather create a new shader. And for this, I want to use the right mouse button. And the right mouse button here shows us lots of things. And we go all the way down to assign new material because we want a new material here for our quarter tours. And here we have options to add materials. And on the left side you see favorites, Maya or whatever. And down here you find an old. When you click on Arnold, you have a nice selection of shaders. And one, the standard one is the AI. Ai stands for Arnold, whatever that the I stands for. I don't know. Ai standard surface. So let's recap this. You go to assign a new material with the right mouse button. And then you go to Arnold and then you click on AI standard surface. And it changed a little bit. It looks more gray now. And now we render it again. Arnold. Render them. This is not really convincing either. That's why we go to the presets. And under the presets, you see for example, copper. And since this is out of the recording area, you just have to, trust me, you have a replace option here, so I replace this with a copper. And when you go to the other side, for example, and render it again, you see it from this perspective. This is not really very cool, but it is a starting point how to visualize these object objects. Last thing in this first part of the 12th part NURBS modeling tutorial session is this. We go back to curves and surfaces, and we click on this icon here. This is the plane. It's a, just a plain which sits here. And of course it arrives in gray again because it has, she might remember, go all the way to the right, a Lambert one shader. And when you go to the make NURBS plane, you find other things then in the torus world here. And the interesting things here are the width and the length ratio. When you raise the width, you make it really big. The length ratio makes it thinner or wider. And we render it again. We now get a much better view of the whole scene. We see half the torus only. I mean the upper part of the torus only because the other part is down here. And by the way, you can move this window a little bit to the side and navigate in that scene. And then the rendering part will follow. When you get closer to this object, you can go into the cave. What might puzzle you is why we see these edges here, because NURBS have the reputation of being very fluent like a very nice flow of the surface without hard edges. Are, edges are in fact hard to produce in the NURBS. Well, it's possible, but we need a little bit more effort for them. So why is that? Well, it's a rendering thing and I'll talk about it in, in another section of this course. It's very easy to get rid of these edges here and make a round one. And with this, I leave you for now. If you feel like doing some homework, do the same thing which I just showed here with torus. Do it with a sphere. The sphere is here. All the blue objects, even these curves here and we come to the curves and the second tutorial, second part on other NURBS objects and as opposed to the Polygon objects without orange. And what you should do is create a NURBS sphere, open it, and render it. Have a nice day. See you next time.
3. The Loft — an elegant surface from just two curves: Modeling. With Autodesk. Maya. Welcome to this class. Nurbs modeling with Autodesk. Hello, This is part 2 of a twelv part here is about NURBS modeling. And the first part I showed you navigation tools and rendering of a very simple object to occur, the nubs torus, which is here, and the homework which you did or did not was about this sphere, do the same thing what we did with the torus. Do it basically the same way with a sphere and it would typically look like this. And since I used a velvet material, it looks velvety. When I render it. This is what it looks like. In the first part tutorial, we had a copper material. I introduce the three navigation shortcuts with the ALT key, alt key on the keyboard and the left mouse button is this. The middle mouse button with the ALT key is this, and the right mouse button is this. Now I give you a hint. Let's move all the way out. And over here, this object is selected when I press the key f, which means focus. I guess you focus on that object. And when you now with the left mouse button and the ALT key rotate, you rotate around that object. That's a very standard thing. You can also type A for selecting everything but f is focusing on the selected object. What I did not tell you in the first tutorial was how to manipulate these objects. And let's cut this short. On the keyboard you have, if you have a look on your keyboard, Q, W, E, and R, the keys are just located next to each other, Q, W, E, and R. And when you press the key w, you get these arrows here. The arrows mark the other tools for transformation, translation as it's called, to the left, up and down. And you have to move a little bit around it in order to see the blue one and back and forth. And when you go all the way up and rendered, of course now the sphere is on top of that surface, on top of the flat surface. This is the key W on the keyboard, which gives you the translation. Shortcut and icons. When you press the key, you get the rotation in all dimensions and always move around your object in order to see things properly. That's, it will become a habit anyway. Next to the key e is the key r, which gives you the scaling tools, can make things bigger and smaller and render it. Now, this is what it looks like. And the q on the very left is deselecting all the tools. So when you have want to have a clean look at your scene, a fresh look at your scene Press Key. Q, and you'll get rid of the manipulation tools, these ones. Well, now you already know basically all the interface shortcuts. There are a few others which are not used by everybody. Some people use them all the time. For example, when you press and hold to forget this, right now, when you press and hold the space bar, you'll get these things, which gives you access to lots of commands which are available here as well. But we don't need to talk about this. We'll work with two curves today and actually with three curves. And for that purpose, let's create a new scene file. New scene. We don't want to save this because it's, we can easily reproduce it again anyway. So we have an empty scene, and now we won't start with one of these so-called primitives here, which we used in the first part of the tutorial series, but with one of these curves here. And one curve which we will start with is this one is the ARC. And I clicked on it. And now the cursor changes to this cross here. And I can just click here and there, and somewhere here. And then I have, with the key enter, I have a curve which lies flat on the surface and looks like this. Now I use this tool for creating a curve. I click here and again, I guess this cross here. And now I can place certain points that I finished the thing with the Enter key. Now I have two curves in the scene. And since you know the manipulation tools now, you can select the arc and press the key E, which gives you the rotation tool. And I rotate this curve up. Then I press W and move this curve over here. And I do similar things with this one. For example, I move it a little bit up. E is a key for rotating it and can rotate it in this direction as well. So I have two curves, not very close to each other. And now I press the key q in order to get rid of the tools in the view port here. Now we'll create, by the way, if you curves look a little bit different, like blue or whatever, you can easily change these things in the color settings of the interface. But this is something for much later. Now, here you have one of the most important NURBS modeling tools. It's called a loft because it spans like a like a tent, a surface between curves. And that's exactly what we're gonna do. And when you hover the mouse over this icon and look at the very bottom left of your screen, you see loft select curve or curves or isoparms or trim edges. That means just select the curves and the loft will be created. So select this one. And with the Shift key, this one. And and I go to this icon. The negative surface which spans exactly between the two curves. And when you look around now, you see the power of NURBS modeling. It's more or less random what we just did, but we get a very beautiful shape. For industrial design. This is just marvelous. And you cannot do this with polygons. Polygons are extremely powerful, but for these nicely rounded surfaces, they are just useless to start with. Need to start with the simplicity and elegance of NURBS curves. Two curves as I've said, and you have that interesting surface. Now, let's select the surface and delete it. We still have our two curves. Now, we need the outliner, which is here if it's not open anyway, just click here. Here we see curve 2 and 3. I don't know where curve one would, would have been, but we started obviously we started with curve to this one, the arc and the curve 3 is this one here. Now we create a third curve. And the third curve, I want to duplicate it. Let's just select the arc. This is curve two. Actually we can double-click and call it arc. And we duplicate the arc. And you do this by Control D or edit, duplicate Control D. So we have two of them now, it's called OK. One, they sit on top of each other obviously. And when you press the key w, You can now separate them. And when you look at the three curves now, you can do a few manipulations with the middle one. For example, move it up or down. And with a key, our scale it. And you can scale it in certain dimensions, like in this case in the x dimension, make it really wide. Now you have three curves which are ready for a new loft. And in order to produce a loft, which make sense, you need to select the curves in a special order. And the order is, of course, starting here with the Shift key, this one. Let me press the key q in order to get rid of the manipulation tools. And as a third one, this one. So. Here in the outline, you don't see the selection sequence, but you have to keep it in mind because Lofts go from here to there to there. It wants to go from here to here. And finally to there. Now we create the loft. And this is what it looks like. Now, the loft respects that lower curve. It's called arc one as you remember. And when you select the arc one now, either here in the viewport or in the outliner, which is, I think the outline is a little bit more easy to pick it there. And then you use, for example, the rotation tool, that's the E key, and rotate it. The whole surface will follow. This is the beauty of NURBS modelling. It's so easy. The surface knows where it comes from, it remembers the history of the process, how to create it. So what you learned in this lesson is quite a lot already, because with the tool and the loft, which is the most powerful tool in NURBS modeling. You already know how to create extremely complex and nice surfaces. Of course, we want to render this surface, so we select it right mouse click and assign a new material. And we again go to Arnold and assign a standard surface material. And here in the attribute editor, editor AI standard surface one, we have the presets which you don't properly see because they are out of the recording range. We tried copper last time. Let's try milk today. When we render it now, we will see everything black. Why is that? Because we have no light in the scene. I'll tell you about other lights. Then, the one we used in the first tutorial in which we'll use now in the next tutorial. But today we'll still stick to the sky dome light, which wraps around the whole scene as you might remember. And you get a little bit closer here. And now when you render it, you see a beautiful surface, very bright. Because of the milk shader. Arnold is this rendering you see, oh, it's cleaning up these pixels. It's called anti aliasing. So with the milk, we don't see it very properly. But we can, of course go back to our lofted surface as it's called is this surface. And go to the standard surface shader and choose another preset, like clay. And then it looks a little bit like a saddle. If you want to do homework, please do this. Create three totally different surfaces from curves. Use two curves for each surface. And the surface look totally different, and render the surfaces and have a nice day. See you next time.
4. The revolve and the planar surface: Modeling. This with Autodesk. Maya. Welcome to this class. Nurbs modeling with Autodesk. Well, hello, this is Tutorial Number 3 in a twelv course about naps modelling. And last one, the homework was to create three sets of two curves like this one. This would be one set and create a loft between them. The Loftus, this icon here, or under Surfaces, loft, That's the top entry. If you don't see surfaces here, it has to do with this pull-down menu. I'm under modelling now. And if you, for example, are under animation, There's nothing about surfaces here. So you need to go back to modelling. And then you have surfaces and loft. And you need to select two curves, this one and that one, and then create a loft. I did it already and it looks like this. And the interesting thing for you might be now to foresee, would kind of surface will be built. When we start with two curves, Let's have an example, least two ones. Can you imagine what kind of surface you'll have? Well, it's going to be this surface, this wavy surface. And how about these two curves, two arcs, one is smaller than the other, one is bigger and lofted surface looks like this. In the homework, you had to create three examples, all looking different. And here I have a fourth one. This is quite interesting because of this sharp edge here, which is not as sharp here. Can you imagine what kind of surface will get? Well, it's this surface here with a quite as sharp edge here and, and spreading the ISO palms as they called outward. Today. In this third lesson, we'll talk about this command here and this command, these two. So the loft is the central command to create interesting. A NURBS surfaces for example, the fender of a car would be typically made of basically to intelligently laid out curves. But before we go to the, what is called a revolve, let me introduce something very important, very central to all 3D animation packages. And for that purpose, let me delete everything here. Except for the two curves which we started with. I get a little bit closer and maybe you remember when you want to get closer to this curve here, you should press the key f, which is short for frame or focus, I don't know. And then you can, with the left mouse button and the Alt key, you can circle around it. I want to show you something about the components of this curve. It looks like a one object, but it is, consists of components which ban up this curve here. When you press the key w, you can move the curve. When you press the key, you can rotate it in all kinds of dimensions. And when you press the key Are, you can scale it in all kinds of dimensions. But when you right mouse click, you see that here's an object mode and we're currently in object mode. But we can also try to see the curve points, the control vertices, and the edit points. And the same thing can be done with the F8 key. So remember that you select that object and then you press the key of eight. And then you see these little dots, right mouse click just to make sure we see the control vertex set of this curve. This is very interesting because now we can pick this one. And with the key w, we can move it up or down. I'll move it to the left or to the right. And we can do the same with all the other dots here with the F8 key. Again, we go back to the Object Selection. Now let's ban a surface here. You remember this command. Why does the surface look so dark and more gray from the back? It doesn't really matter. But I would advise you to go to in this case if you want to see it gray, go to surfaces and all the way down is reverse direction. And we just change that so it's dark at the bottom. So very central thing which you might want to remember. Now, we go back to our Curves. Now I'll choose the first one and press if eight. So I see the components here, and I move this component up. And then you see the curve for the surface follows very nicely. So this is a component thing. And it's different from manipulating the whole object. So just to remember right mouse button and go to the object mode, or just press the F8 key. So we have a different layout now of our surface because we manipulated components. F8 is the component mode, or always with the right mouse button. And the surface remembers what it's made of these two curves. And whenever you do manipulations with these curves, the surface will change. At HOK, for example, the whole surface changes, gets longer when I move the first or second curve to the right or to the left. And when I rotated, it does the same thing. And like this, very nice and elegant. And if you think this is point pointing out too far, how do you go about it? You press the key F8 and you move a couple of points with a key w to the inside, and then you get a more smooth flow of the whole curve and surface. Now let's create a new scene. And with the new scene, we try this. And when you look, when you hover, hover the mouse over the icon here. By the way, it's under Surfaces and Revolve. When you hover the mouse over here you see at the very bottom left, revolve, select curves or ISO palms or trim edges. So it's an easy command to start with. So let's create a curve. For example, with this tool. And I create a curve right here, 1, 2, 3, 4, and I press Enter, and now I invoke the Revolve command. It gives me a very strange object. This flickering here comes from overlapping surface parts, which is not really cool. It has to do with the curve being flat on the ground. And with the default settings of this revolve, I get a revolve rotation of my curve around the y-axis, which points up. That means I get a flat disk with quite a few problems. I don't want that. So let us undo this, and that's the key z or z. And we have this curve here only. How about rotating the curve up and move it a little bit to the side. And now I invoke the command again. And you see I get something much more interesting. And this has to do with the rotation symmetry. And when you go to the surfaces and revolve this little box here, you get the options. And the revolve options show you just ignore all the rest. That the axis is. Why you can change this to x if you want a flat curve to be revolved. But in this case, the standard way to Create such a surface is with the y-axis, that means upward. So here we can work with the history again. I select the curve. Where is it? It's right here. And I press F8. And with the F8 key, as you might remember, I get the components and I don't want to pick this one. I wanted to pick the next one. And I can use the cursor keys left and right, and walk down and up. I want to pick this one which I don't see properly because it's half inside of this object. And I move it out. And then I get a different shape. Actually in industrial design, it's a completely different shape. You can market this object completely different. Differently from this object. For example. We can select these two and move them out and get something totally different. Again, when we scale these CVs, the control vertices down here, I selected too, I think two or three. With the archae. I'll make this whole thing thinner or wider. Let us delete everything here. And now I show you the orthogonal Windows. When you press the spacebar, briefly, just briefly, you get an overview of the orthogonal views here. This is the top window, this is the front window and this side window. Now, since you know that the revolve in the standard way uses the y-axis. This one. You can model your profile in one of the orthogonal windows, for example here. Now this icon again, which is a new curve, which gives, gives me this crosshair cursor here. I want to start here at the origin of the scene. And I want to snap the cursor exactly to that point. I do this by pressing and holding the key x. And when a person hold x, this I can looks is blinking prior precedent, precedent, precedent. Press and do. When I press and hold it and place my cursor there and click with the left mouse button a place the first of my curve, exactly here. I can do the same here, press X again, and then the second is here. And then I move up and I press Enter. Now I create the revolve, which gives me this vase or whatever it is. Again, select probably best in the outliner here, the curve and then F8. And then you see the components at, for example, if you want to have a harder edge here, you just pick this component and move it up. How far can you move it up? Well, here it's not okay anymore because the surface penetrates while still okay. But it almost penetrates the other parts of the surface. So that's that has to do with a clean topology, which we'll talk about later, I think in a different tutorial. But when you move this all the way up, you get this interesting part here, which leads to a totally different object. Let's make it a much slimmer down here. You do this in the revolved by just moving these CVs to the left and to the right. So this is the Revolve command. Now briefly, the planner command. It creates a planar surface new scene. When you create a curve flat on the ground like this, press Enter, and you invoke this command, you'll get an error message because this curve must be closed or self-intersect, intersecting. So let's delete that curve and create a curve which is closed. How about this one? This is a closed curve. It's a circle. When we press the key f 8. If you want to move this control vertex to this direction, you can use both arrow keys, this one and then that one. Or this. I can hear it. You get this egg sort of shape press of eight again to go back to object mode. And now we can use the planner function and we get a planar surface. It looks black and you might remember surfaces reverse direction. And then it looks great. Now you can move that surface, pick the surface and move it up. But that's not something you would typically do at this stage. You would do this later when the surface is really finished. So with a key zed I undo the thing. What you typically would do is create a move that circle. And the surface moves with that circle. And when you rotate the circle, the surface rotates accordingly. This command only works with totally flat objects. Let's create yet another new scene. We don't need to save this. And we create another curve here, same as before, the attempt which failed. And now I want to place the last point right here. How do I do this with a precise click? Well, I cannot do it like this. I need the snapping tools again, these magnetic things here. And the key x. This one doesn't help because this point is not exactly on a, on an intersection of the grid markers here. Instead, I use the C key. The C key snaps on curves. So I am, I've placed this point here and now I'm ready for the last point. And I don't want to place it here. But I will tell Maya, I mean, this, this curve basically. So a present hold, see, this icon is activated. And now I click here and I keep pressing the left mouse button and then I can slide on that surface, very elegant. And of course I want to slide to the end. And then I press Enter and I have a closed curve. And now I can use this command here. Intact surface. And again with the F8 key or with the right mouse click on the curve control vertex. You see these little dots here and you can move them around. And the surface, the gray surface stays intact. But if you move it up, it goes away and you get an error message because it's not flat anymore. So when you undo this surface, reappears, the homework is the following. Create a curve which depicts the letter C and create a planar surface from it. With this I can, so let us see, we want as a flat surface and use the revolve tool in order to create a surface which is closed at the top and at the bottom. Just a hint, You need curve snapping. And with this Olivia for now, Have a nice day. Bye-bye.
5. Extracting fresh curves from existing geometry: Modelling. This with Autodesk. Maya. Welcome to this class. Nurbs modeling with Autodesk. Hello folks. And the Fed tutorial of this 12th tutorial session, we talked about the Revolve tool and other things. And today I want to show you how your homework could have been done and asks you to create a revolve NURBS surface with a closed bottom and top. When you briefly press the space bar here, you get the orthogonal windows here, and you go with the space bar just briefly pressed, you get the front zed, for example. And now we go to the curves and surfaces again. And this is the tool we need for the revolve, but the revolve needs a curve input. So I choose, for example, this one. And the cursor turns into this cross. And now, and this is crucial. I press and hold the key x. That's the snapping to the grid tool. And I place my first here. It doesn't matter where I place the other points, but in order to close our surface at the very top, I need to snap to the grid again because this is C y-axis and well, let's do it. Click and then I press Enter. I have a curve which does not look very amusing really, but it serves our purpose. And now in the perspective window, I use this tool. And now I have a surface which is closed at the top and at the bottom. That's what it was all about. Now, let us have more fun with this geometry by right mouse clicking and assign an existing material. And we choose the standard surface shader. That's shader, which gives us a little bit of glossiness. And when you click on this surface, the revolved surface, it's called here in the outliner, the outline and shows us all the objects in our scene. Not very many at this time. And when we click here on the revolve serve surface, we find on the very right here, the standard surface one. That's the material we just assigned. Here you can choose a preset, and I advise you to use one of the presets. You don't see what I see here. The car paint has replace replace all selected to replace, blend 90 percent of whatever option. So I just replace it with a car paint. And you see these little reflections here which are quite cool. The simulate the shininess of this material. Today, I don't want to talk about creating NURBS surfaces from curves, but the opposite, creating curves from NURBS surfaces. Now right mouse click anywhere on this object, I find the control vertices. That's the components which we used in the last tutorial in order to modify curves. Let's have a look. You see all these points then not on the surface, they are around the surface, they span surface. And we actually can pick this one, for example, and press the key w to invoke them. Move and the trends late tool. And we can move this out or in. And here you see one of the beauties and restrictions of NURBS surfaces in the polygon world, which is this world here, the orange world in Maya, you can manipulate things locally, very, very precise local manipulations, whereas the NURBS surfaces tend to try to stay intact and smooth, which you can see here. That's an advantage and a disadvantage at the same time. Now let's do the same with say these three here, and they're picked a few here with the control key, I can deselect them and I move them out a little bit or in a little bit, whatever you like, just try some manipulation so we don't have that orderly geometry anymore. Now, right mouse click. And this time, if we wanna go back to the object mode, we're here. This is the object, but now we choose the palm or isopod. And the surface consists of lots, infinitely many ISO palms. This just one of them. When I click here, I see this yellow thing here, which looks like one of the lines here, but actually you can move this down. And by moving it down, I don't mean actually moving, which is sliding on that surface. And I cannot slide in this direction. For example, I have to stick to one of the directions which are given with this nerves topology. So again is a palms, I can choose this one. And you see it goes all around here. And with the Shift key, I can choose another one, like this one. I have these two. And again, this one, so I have three of them. And now what I'll do is very simple. I go to curves and I duplicate the surface curves. And now in the outliner you see I have a curve. That's the first curve which I used as a revolve tool in this window here. And I have the revolved surface, this surface, and I exploit this surface. By extracting, duplicating basically certain isopod arms. And I have these three curves now. Let me hide the original curve. I press the key H, so it's gone. Let me hide. The first curve is the one which we use to span this surface. And now I selected this one, then that one, and that and then the third one. And I create a loft. Loft is the most important and most simple tool to create a NURBS surface from curves. Click here. And I see a black surface, which is quite interesting. And if I want to see gray on the outside, I can invert, reverse the direction as it's called. But I want to use the material we have and we have an existing material which is the car paint shader. So this is one of the reasons why you would like to extract curves from existing surfaces. Now I delete everything here in the scene except for LEA, perspective, top, front and side windows and the default light set, whatever that is. And I keep the shader, that, that's the reason why I didn't create a new scene because I want to use that blue shader again. Now we want to create a spiral. Let us briefly press the space bar and go to the top window Space-bar again. Now we're in the top view and I want to create a spiral like spiral staircase. And I can do this by using this tool here, a new curve. I click here, here, here, here, here, here, here. And I keep clicking. And of course this is not very precise, but you get the point. And now I press Enter. Looks pretty horrible. And now you press the key F8 in order to get the components. That's the control vertices we talked about in the third tutorial and just a minute ago. So it can pick this one and move this up. And with the cursor key, I can go to the next one and move it up as well, you cetera. But this, of course is very crude. So what I'll do instead is this. I delete that curve. And I go to the Polygon tools because in the polygon world you have lots of so-called primitives. These are basically the same as here, sphere, cylinder, etc. But here you have more. And this has to do with certain things which are different in the polygon world. And when you use this icon here and with the right mouse button, open the pull-down menu. You'll find the helix. Just a brief meditation. You need to be unknown polygon modelling and you create a helix. This is what it looks like. And we'll leave it as it is. And maybe you remember when you press the key f, you frame this object, you focus on that object. And now we have a spiral, but it's not a NURBS surface, It's a polygon surface. And right mouse click for example, vertex, I see the points there on that surface. And when I just picked these two for example, and not these were the control key, I deactivate them, so I deactivate those. So only these two are picked now and I move them out. It's a very edgy, precise motion. Whereas the, remember correctly the NURBS surface, which are manipulated in a similar way, Kept have a nice flow of that surface where with no edges. It depends on the application really. In many cases you need that edgy thing and nerves are totally different. And that's one of the obvious reasons here, why that is, well, right mouse click and we go to edge. The edges are these things here. And when you go here and double-click it, the whole spiral is being selected. It goes all the way down here. You can do the same with this one, with the middle one, and that's actually the one I prefer. So I have this brownish selection of many, many, many, many edges. They look like one, but there are many, many. This 1 second, 1 third 1 is cetera. And now I have this wonderful tool which is called duplicates surface curves. And when I invoke this command with all the edges selected, have a look at what's happening in the outliner. On the very left side. Lots and lots of duplicated curves. Very many within a second or less than a second. 150 depends on the complexity of the original helix. This is quite nice. Let's keep that selection. Well actually I want to show you, let's for example, select curve number five. Where is it down here? So we have lots of them and we select them in a special order. You select the first one and with the Shift key, the last one. And now we want to keep them altogether. How do we do this? Well, curves and attach. When we invoke this command, all the duplicated curves will stay there. But in addition to that, we'll have a one single new curve. And that's the beautiful helix. We want to have the helix curve attach. Now it's down here. We can delete the 150 curves. And we have just this duplicated curve, one attached curve as it's called. And we can delete the helix. And we have a wonderful NURBS curve. Now. And this is the final thing here. We want to render it. When we create a light in Arnold, like the sky dome light, which we used in all the previous tutorials because it's such a simple and effective light. Arnold render. And we see only white. And we don't see that curve. It, we see only white because the light is so bright, we don't see the curve. In order to see the curve, we need to select it and need the attribute editor. If you don't have it here, control a. You toggle between the, what is called the Channel box. Control a, or you select it here. You are activated by clicking here on the very right side. Here you have an R-naught section because now we're in the rendering world. And Arnold does the rendering. And here you have the top option is rendered the curve. That's what we do. And now when we render it, we see our curve being rendered. If you want the curve thicker, you change the curve width. For example, instead of 0.010.1. Much thicker. If you want the curve to be displayed in a different way, we have the modes, the ribbon and thick. Now it's round and oriented towards the camera, which does not make a difference here. But the ribbon is the standard one. The homework is this. Use the polygon text tool. There is no nerves tool. This is the polygon texts tool. When you click on it, it creates a big text 3D type. Delete everything here, and type your own, for example, a W. And extract the front curve of this w. That's all there is for now. Until next time. Bye bye.
6. Extruding along a path, lighting and rendering: Welcome to this class. Nurbs modeling with Autodesk. Hello. This is part five of a twelv part series about NURBS modeling. I show you something really trivial now, when you press the key Alt, and together with the old key, a key B, toggle the background color. You can change all these colors obviously, but this is important once you get bored with a certain look of your scene. So the old key is the basic keel for key for navigation. That's all left mouse button, that's Alt, and middle mouse button, and this is ALT and right mouse button. But you think got acquainted with that already. So we're in Maya Endo, we'll recap the homework from last time before we go further to a new tool with nurbs modeling. Now smuggling here, the polygon world has the text icon here, this t. And the homework was create a text like just a single letter, like a W, and extract the front curves. And the typical way to go about this is just right mouse click and go to edge. Because we need all these straight lines here and we click here and with the shift key here and here, here. And we select all the front ones, hopefully none of the others. We need to check that by walking around. At Scene 2, we have all the front ones selected. I think we have. Now I go to surfaces, actually two curves, and I duplicate the surface curves. So duplicate the selected faces of the polygon W. And they are here. And now I need to, because there are so many 1234, is there exactly 13 and 12? I want to connect them. And the command here is it had attached curves, attach. Now I have one curve. I can throw all these. Curves away. I have the front curve only, which is a NURBS. So a curve. And I can create a NURBS surface from lat if I want to buy, go in because it's flat by going back to curves and surfaces. And this is the tool to create a surface from a flat curve. When I select the curve, not the surface and press the key f 8, I get the components of this curve. And when I select this one, for example, and move it to the back, I lose my surface. Because the surface can only be constructed with this tool here when the curve is totally flat and in this case it isn't. When I move it back forward. I needed precise alignment. So I press the key zed in order to make this intact again. But what you can do is you forget about all the history of this object and select the surface, not the curve. And now with the right mouse button, you can select control vertices, for example. And this one, you remember the control vertices. Most, in most cases are outside of the actual surface. They just, they span the surface. And now you can do interesting manipulations, which are not easily possible with the polygon because the surface is so smooth. Second thing, so this was your homework. And the second thing I'm going to tell you now before we go to this tool here is something about lighting. I want to introduce a new light because it's very sexy for lighting NURBS surfaces. The light is on the R-naught and it's called Area Light. It's the top entry here. And in previous tutorials we use the sky dome light, which is a powerful light, which gives us a diffuse like with the diffused sky lighting, which reaches all areas of the scene. But the area light is restricted to a certain area, as the name of the light says, it lands in the scene, in the center of the scene, like all objects in Maya, they land in the center of the scene. And when I move it a little bit up, you see it has a pointer here. And that pointer shows the direction of that flat light. So let's move it back and up. And to the right. There's a trick to actually position the light interactively, but I don't want to get too deep into it. Now I make the light bigger, bigger line has more power. Actually, this is, this was not very common in the previous, in the early versions of miles. So a light would have had the same impact, not depending on the distance and the size, but in this case it does. And now we can render it, Arnold render. And we see nothing. Because that light is too weak and I usually don't ask me why untick normalize. So we get a little bit of light here. And then I raise the exposure from 0. We have an intensity and an exposure, this related values. But when you raise the exposure from one to a higher value, you get quite an interesting effect of that light. So this is the area light which shines on our polygon object, which I will hide now, I selected and press the key h for height. So it's hidden. Now I want to give this surface a nicer color. Currently it is not shiny at all and I wanna make it shiny, right mouse click and I create a new material. I go to an anode and a Select the AI standard surface. We did this in the first tutorial of this session. And maybe you don't remember. So it's under naught and it's called an AI. That's short for Arnold, whatever standard surface you see, it turns gray more or less, but it is already acquired a shining shader. And when you go to presets, you just select a brushed metal for example, or car paint metallic, and replace that so it looks bluish. And now comes the rendering again. And now you see something nice happening. Because depending on your cameras situation, your camera position, you will see nice reflection of that light. You currently don't see them, but show you how to visualize them. Go to renderer and select Arnold. A pop-up window appears and click Run. And now you see that we have an interactive rendering. We actually see the rendering with that light effect. When we move position, we see that the viewport a adapt accordingly. Now let's concentrate on the light again. You see a reflection here, which is quite drastic now. But when we rotate our camera, we don't see it anymore. So let's move the light down and scale the light like this, make it really thin and very long. So what we see now is the inference of the light. For example, now, on the W. From this perspective, if you choose a different material, right mouse click and material attributes because we already have an interesting material. But we want to change the preset and we go, for example, to. Frosted glass and I replace it. I get a totally different look, but the reflections are sort of the same, but much more diffuse. Now, very interesting to maybe you need to raise the exposure of that light now. So a very cool w from a NURBS surface. Now let us create a new scene. Remember Alton be I want to introduce very powerful tool, which is this one here. It's called an extrude. It extrudes curve along another curve. Basically, very simple you might think, but it is a bit tricky. Let's use this tool here. And I create a flat curve with grid snapping. You remember when you just press the key x and hold it, you place your points on in these grid markets here. So I just create this short curve right here. It's totally flat. And now I create an arc to make a big difference here. And the arc in the side window now. And the Arc tool is this one. And places here, here, and for example here and when I press Enter, I have a perfect arc. In the perspective view, you see the flat curve and the arc curve now separated from each other. They would never close to each other. I did that on purpose. Now when we extrude this curve along this path, how could my note what we mean? Do we want this path to start here at that, back, at that curve? Or do we want the path to start here at the curve which is higher and more to the right, and then follow that flow. That is something which irritates many people when they start working with this tool. It is much easier when you have both elements closer to each other. But let me show you how to go about it. We select the profile curve and then the path curve, and then we go to this tool or two surfaces and extrude. And now we have a very nice surface and it actually starts at the profile curve. Now when we change the profile curve, and that's the power of nerves modelling. Obviously. We have the curve selected here and we just rotated. And when we press the key F8, we get the CVs here. And when we get closer and move this one with a key w up, the whole profile changes. With a cursor key. We can move to the next CV, for example, this one, and move this further inside. So we get quite a sharp rim up there. And Now we go to just to show you how the extrude works to the attribute editor. And here you find the extrude. You can select the surface, actually back to object mode or press F8, right mouse button, object mode or the key F8. You back here, and you find the extrude here. And the Extrude has options which are often very necessary to check them out. For example, a fixed path. This makes like something like a compromise between the position of this curve here and this curve. Use Profile normal. You can untick this. You can, instead of closest endpoint of the path component pivot, now it gets really close to the arc. And with a fixed path, it walks away and it starts exactly where the profile starts and makes this arc shape starting here, going down from here. Let me delete this again. I want and delete this one. No, actually delete this one. I want to show you the by rail tool now. The by rail to is here. And it needs a profile curve and two rail curves. What does that mean? Well, we create a new curve and this time we won't snap it to the grid. That would, would have been the key x, this one. But we want to snap it to the curve. That's the key C. So snap to the curves. You see that I can with a magnet and a curve. And when you go close to that, to the original curve, you can now slide your first of the new curve anywhere on that curve, for example, to the left side. Now we're still in the construction mode of that new curve. We can just go along here. So this is our rail, the first rail curve. We do the same thing now with the second red curve. And again we use curves snapping the key C. You have to be close to that curve in order to tell my that you mean this curve here. And I do it from here and go here and press Enter. So I have this profile curve. And the rail curves are these the command. This one wants us to pick the first curve, which is the profile curve. We can pick it. And click here. And down here you see profile curve is selected. Yes, select the two rail curves. That's what we're gonna do now. I just select them both together with the Shift key. I guess the Shift key is good. And I already have that surface. And you see it is a very precise model of a surface with three surrounding curves. Your homework is this. On the surface, is you find the tool we just used under by rail. By rail one tool. Try the barrel to Tool. And with this, I'll leave it for now. Have a nice day. Bye.
7. A bathtub from just 3 birail curves: Welcome to this class. Nurbs modeling with Autodesk. Hello folks, we're in session number six of 12, so we're almost half time. In the last tutorial, we talked about these two tools here, the extrude and the viral tool. The barrel tool comes in three versions. Under surfaces you'll find all of them on the barrel. The barrel one tool needs to curves which serve as the buyer rail to, as the rail curves and one profile curve. The, your homework was to explore the barrel to tool. And I'll show you an example how I would typically demonstrate this. And to deal with create a bath top using the biracial 32. Okay, let's go for the buyer to tool. It needs geometry obviously. And what I'll do is I create a NURBS sphere. Remember, when you press the key f, you focus, you frame that object. And this makes the whole scene much more comfortable. And I move the sphere slightly up because I don't want to get irritated by the grid here. Now, when I write mouse click here, I can select the ISO palms. You might remember from previous tutorials here that we have an infinite number of ISO palms. All of them are ISO palms. So let's just select this one and with the shift key, select this one. Now we have two of them selected. Now select an extra one, that 1 fourth, 1, that one. So I have four of them selected. They go all around that nice nurbs primitive as it's called. It's a primitive object. In this case a NURBS sphere. Totally different from a polygon sphere. So what we'll do now is we'll create this surface here, only this part. And in the polygon world, it's pretty easy to cut things out. But in a NURBS world, it isn't. On the other hand, we get a really elegant curvature for our new surface. But in order to do this, because the ISO palms are not real curves, they are just representations of parts of the surface. We need to duplicate the selected for curves, a palms. So we go to curves and duplicate the surface curves. Here are the duplicates and in the outliner you see all four of them. Now we can delete the NURBS surface and we have this arrangement of things. Now, we'll invoke the barrel to tool. Let's imagine these two, this one and that one. They are rails. And these two ones are profiles. One is a little bit larger than the other because we have circles of different size and they do intersect. And that's crucial for the barrel to two. Okay? We select nothing. We go to surfaces by rail and the barrel to two. And the cursor changes to this arrow here and down there at the very bottom you see Byron L2 tool select to profile curves. So we select the profiles. These are the profiles. And then you see down there select two rail curves. That's what we're gonna do now, is just select those and we have the surface we wanted very fast and it fails if the curves don't intersect. Let's reverse this surface because we want to see a nice gray and with the right mouse button, we create a new material, Arnold standard surface shader. And we go to the presets and use, for example, a brushed metal looks black now because it needs light. Arnold, go to Arnold, lights and place an area light here. You see the direction of the light goes in this direction. You can put it close to our new object. And we untick normalize here because it gives more power to the light. And then we can render it with our anode. We have this nice surface here. Change the color for a change, make it red. Very, very nice. And when we get really close to that object and look at it from the top, maybe the light effect is different again. The NURBS world has the reputation to have very smooth flows of lines. And in this case it does not. From the distance, it's not a problem. But when you get closer, it is. And it depends on the animation and the visualization you do. To actually change the what is called the tessellation. It's a rendering representation of this surface. The tessellation can be reached by going to the surface here, picking the surface, you can pick it in the outliner or in the viewport. And down here in the attribute editor, you'll find a section called tessellation. And without much talking about it enabled the advanced tessellation. Nothing changes yet. And then you have the advanced tessellation tap down here, changed the number of u and v's, u and v, these two directions and the nerves topology always has only two directions, u and v there called when a race this number knew from the three to say 13, nothing changes. So I can go back and try the V number. And with V number higher, you get a smooth flow. It depends on the surface. Sometimes you need both numbers raised in order to get that smooth flow. It takes a little bit more rendering time for this geometry. But I think it's worthwhile talking about it. It's under the advanced tessellation. Yeah, enable advanced tessellation. It's in this in the viral surface shape, in this case applies to all NURBS surfaces ready. Okay, hopefully your homework was reading a similar result. And now we create a new object because we want to try the viral plus tool, new scene. A nice example. And this is the first example in this tutorial session where we actually model something very precisely. Example will be a bathtub. The bathtub has a smooth surface and the biracial three-plus tool is ideal for this. So let's go to the top window. Do you remember how to get there? You briefly press the Space bar while the mouse is hovering, not clicking anything, hovering over the whatever window the perspective in my case. And then you get the variety of orthogonal Windows. This is the one we need, the top window. If you don't see these things here, this is the icon to have that for view here. Hover the mouse over here, briefly press the space bar and then unpack. And I will create the rail curves first with this tool. And for example, with the grid snapping, That's the key x. While I place these points exactly on the grid. And I press Enter this, the first curve. I move it a little bit to the side to see it separated from the grid lines. Actually it does no other purpose. Now I duplicate this curve Control D, and then move the duplicate over to the side. Now I have two rail curves where the left and right top parts of our bathtub. Now I create the profile curves and for this first process will create only four. And I show you the power of these four profile curves. Before we do this, I want to rotate this slightly on it just a little bit to make the bath tub at the end where the head is a little bit wider than where the feet would be placed. Okay, now we go back to this tool and now we do curve snapping because we need to connect these lines. They have to have contact. So our present hold that key. See, I'm close with a cursor to the first real curve and I press the key C so I can move these, the first up and down and place it here. And now I let loose of the CQI and with the cross close to the second curve, I press C again. And then I have the first curve. It has connection with the rail curves. I do the same again. And in this case, I want to not click here. Maya remembers the last command and the last command with this here, not the exact curve here, but the command to create any kind of curve. So instead of clicking here, I can use a shortcut, which is the key G. G repeats the last command. So I have the cross again. Press C, C in order to place it here. Place it there. Press Enter, press the key G for the last command. And a need the curve snapping again. And here we have the third curve. And now the key G, we get the fourth curve. Snapping and snapping. For example. Now I go to the perspective window in order to see my grid. Looks pretty simple. It's six curves and let me move them a little bit up to separate them from the bottom, form the grid. Now I de-select everything and go to surfaces and by rail and I invoke the barrel 3 plus tool. You don't need to have anything selected. The status line at the very bottom left will lead you through that process by Ariel three plus two. You see down there barrel 3 plus Tool select any number of profile curves. That's what we're gonna do. We select these profile curves, select additional profiles. If we had forgotten one, we would be able to select it now and press Enter to start the rail curves selection, we press enter, and now I select the rail curves. Now we have a flat surface, pretty boring of course, but the power of this modelling process starts now. I want to rename this Double-click. This is a real one. And this is rail to now I choose the curves number 45. And what I'll do is, and this is very powerful. Now, press the key F8 to get the components. And you have only very few components because the curves crosswise are very simple. Actually all the curves in this scene are very simple. So we select those four and only those four and move them down. And this is already the beginning of a nice friendship with a bathtub. And now you can use other tools. Keep the selection, look at the scene from all sides. And we can widen this. So we get a wider positioning of the CVs here. Now, we'll go back to object mode, that means F8 again. And we'll select this curve here. It's better to select it actually in the outliner then here because you would inadvertently select the surface. And when we move it, now, the surface will collapse. Nothing left. Just for you to know. Because the contact of that profile curve with the rail curves is lost. And that means you have to do something else in order to get a nicer flow down here, for example, you cannot move this curve. If you move it, you have, you will lose your barrel. So what we'll do now is we delete the surface and we create one more going this way, or maybe actually two more. So we go to the top window again. And with this tool, curves snapping because we need contact, press Enter, press the key G. And this is where we will actually go down curves napping again, this is really crucial. If you don't succeed in curve snapping here, you won't be able to create that biracial. Actually, let's select this one and press F8. And this is the rim of the bathtub, so we lower it just a little bit. And the little bit of change is very important in, in the computer graphics world, especially in the product modelling. We move this down, but not as far down as this one. And now just to give you a hint how this works, I scale it a little bit. Pr press three in order to get it more nice flow of this curve. And now back to the object mode. Now I want to create the barrel three again, three plus three plus tool. I select the profile curves, these ones, now I have two more. And I press Enter, and then I press Select the rail curves. And you see the bathtub is starting to get more interesting. Now. Here you see me doing the whole procedure again with more curves and with curves which are of a higher resolution. Higher resolution means they have more CVs and there is a command in the curves menu where you can actually rebuild that curve. And the default is for spans as they called for segments of the curve. And you can raise this maybe 20, well to 10 maybe could be quite good for this purpose. And I speed this whole process up because it's quite time-consuming. And modelling in 3D industrial design is not a tedious process at all. What you need to look at the scene from all kinds of angles. And you have to try out other resolutions and you should always start with lower solution. So the first approach to above top was excellent. But now we know that we need probably more curves and maybe more curvature in the curves. That means curves of a higher resolution. Once I'm finished with basic modelling of the bathtub, I rebuilt that surface so I have a clean layout of the u's and v's of the ISO palms basically of that surface. And there's a rebuilt command in the surfaces menu. Of course, at the end, the bathtub needs some lighting and it needs a faucet. And here you see me modelling the faucet with an extrude tool. And I'll just change the opening of that faucet with a few manipulations of the so-called hulls, which are basically the collection of CVs in one row. You can pick them with the right mouse button. And then I introduce a light and render the whole scenery. And the rendered result invites to try out several versions of the bathtub. They are all slightly different, the three of them, which you see here. And your homework is to create that handle. The handle which is next to the wall. And if you want, create that wall. See you in Tutorial Number 7. Then when we'll talk about animation and deformation.
8. Modeling NURBS surfaces and curves with deformers: Welcome to this class. Hello, We're starting lesson number 7 out of 12. Now, the end of the six session was your homework. And the homework was to create this handle for the bathtub or for whatever. Did you succeed? I guess you did. Just in case I show you how I would do it. And they're always in computer graphics and animation. Several ways to reach a goal. I go to one of the orthogonal windows, and I use this tool. I could use the tool as well, but this is more precise in this case. And I place it with the grid snapping here and here, and here. So this is the arc I get. And it has in the attribute editor here you see that it has eight spans. That's where we could rebuilt it. Why not do this curves and rebuilt? Here you use the option box, which is this box opens the option box. If you just click here, the curve would be rebuilt in the standard way. And I think that's four spans. So the curve would be constructed simpler than it is and we want it slightly more complex. So we use the option box here. And instead of four, we change it to, well, well let's say 16. It's just a feeling. And I apply this, the curve looks the same but it has more CVs. Now, what we'll see in a second, and just to show you something very principle here, Maya, it's different with other packages. When you have such an option window like this, and you have a hundreds of options windows in Maya. You go to Edit and reset the settings. Then you reset your last entry from 16 to four. It does not apply to this because you already applied it to this. So you can just close the window and you have a fresh new window once you use it. Next time, when we press the key f 8, we see the CVs and now we have lots of them. Rather than 8, we have 16. And now all I do is I select those. For example, use the scaling tool, which is the archae. And I move. The CVs down. One of the crucial things in all kinds of modelling polygon and nerves is that you keep a nice flow of points and ISO palms in the, on the surface. And this is the case here, I guess. Now I go back to the object mode by pressing F8. See the green curve now, which already has the shape of the handle. Now I need, because in the perspective view you see just a thin, infinitely thin, curved and we need some thickness. And for that purpose we can create any kind of curve. But in this case, I think the circle is just nice. And now I don't see the curve properly anymore because it's blue. So I toggle the display all the B. I want to use the extrude here. I want to extrude this circle along this path. This is the start of our curve. So in ideal situations you would move this over here. And I move it over here with, of course the W key. And I present hold x to make it snap on the grid. And now I'm exactly at the starting position. It's not really crucial, but it makes life much simpler. And of course I want the profile to be thinner, maybe like this. Now I have selected this circle and with the Shift key, I additionally select the path. And then I go to this tool here. And I have my handle. More. That's basically all there is. We created surfaces using precise modeling with curves. We created curves and we exploited surfaces in order to create curves from those surfaces. All kinds of modelling techniques we've experienced already. And today I'll show you a modelling technique which has to do with deformation. So let's create this plane. Press the key f to get close to it. And for defamation, I need a more complex geometry. Currently, our plane has only these ISO palms. It's a very simple geometry. But when you go into the attribute editor to make NURBS plane, it's always the make, whatever you will find, width, length ratio. That means. So why did then long? But the interesting thing here is the patches. So let's raise the amount of patches too. Well, like to this degree 23, oh, maybe 30 by 30. This just means it's basically the same geometry, but it's more complex. So when we deform, it will experience, well, more interesting things. Remember the bath tub in chapter number 6, we created the bathtub with the barrier three-plus tool. But you could also start modelling such a thing with a deformation deformed. And we use the sculpt, the former, just brief meditation over this menu. Here we go to deform and in the first quarter is the Sculpt Tool. So let's invoke the Scallop tool. It does a strange effect because all of a sudden our surfaces around now. And you need to have a look at two points, two entries here. One is the sculptor, this is this sort of sphere. And you have a sculpt stretch origin. This is currently sitting, it's a locator sitting in the center of the scene. Both things won't be rendered, but this geometry will be rendered. Now, let us move the scope, stretch origin down with the key w. We just move it down. Now, it has this very strange influence of blowing up our surface with this sculptor. When we move the origin up, we get the contrary effect. We get this sync here. And when we scale the sculptor down, we get a nice kitchen sink actually. And when we scale this, we get sort of a bathtub. So a very powerful defamation method using the sculptor, the Sculpt Tool Tool. It consists of two notes and you have to look at them separately. When we delete the sculptor and I deleted. Now, the deformation is deleted. Let's undo this by pressing Z or Z. What if I wanted to keep that information because I like it? Well, you click on the object. Would you want to keep? And then you go to edit and delete by type history because it's a construction history of our surface. So you want to delete not the object that would be this entry. You want to delete by type the history of our object. And once we do this, let's go up to is gone. And we have a fresh surface which is deformed like this. Brings me to the next deformer I want to show you. It is the lattice deformer. It's one of the simplest deformers you can have, but it's very powerful for certain applications. So let's invoke this tool. It creates this well lettuce, which wraps around our geometry. Now, when we move the lattice, we move the whole object because it's really, it's like in this frame, it has to move with that frame. The interesting thing about the lattice is when you right mouse click, you can go to the lattice point. You have only two options, the object mode, this is what you currently see, the green lines, all the lattice points. And now you can select the lattice points and let me, for example, select this one and that one. And move those up. This is impossible to do with the sculpt deformer, but it's very simple with the lattice deformer. Now if I want to change the position of the lower part of our bathtub, I can select the lower parts of the lattice and move them over here, for example, here or there, or move them up. So I have a more flat surface now. Right mouse click on object mode. And same thing. I select the surface and I go to edit, delete by type. History. The lattice is gone. Defamation stays. So I have a new geometry deformed by two deformers. Now show you the last one. There are lots of more here. It's a long menu really. But one of the most interesting sections is the non-linear deformations, like the bend, the flare, the sign, the squashed twist and the wave. Let's try the wave. Here is a wave. We don't see a wave. Why is that? Because unlike with other tools in Maya, it starts with an amplitude of 0. That means it has no effect. But we can raise the amplitude. And then we get a Wave sort of deformation. We don't see this properly here. So let's move the wave through our object. Now we have a B day sort of shape. For a modern bathroom. You can change different things here. The offset where it starts to work and where it ends. And you can change the wavelength is the most important factor here. With a smaller wavelength and maybe a smaller amplitude. You get this deformation. If you had chosen an even more complex resolution of your surface, you would see even more details in the waves. If you have a very crude resolution of your surface, the surface you want to have deformed. You won't be able to make use of the smaller wavelength, which means higher frequency. Now show you animation. I want the wave to move through our object and leave the object untouched after the whole animation is finished. This is always the same process in mind. You need to select the object which you want to animate. In this case, the deformer. It's not the geometry we want to animate the deformer, we want to move it over here. We go to the very beginning of the timeline. This is the timeline. We are at the beginning of a timeline, frame one. And now we press the key as it stands for, set a keyframe. And it sets keyframe for the amplitude and everything. Now we go to the end here, in my case it's 120 and we move the deformer all over until it has no. Influence anymore, and we press the key S again. Now, when we run the animation, That's what it does. When you have perimeters animated, they turn red. You can go into the middle here and change the rotation of your deformation. For example, like this. And the scaling if you like. And I have the red icon here toggled on. That means I have auto frame, so Maya knows that I am the mode of animating this object here, the deformer. And when I change anything in different positions of the timeline, it just remembers that. So I don't have to press S in this case. Now we animated and deformed a whole object. But we can also write mouse-click, select the control vertices. And for example, choose the ones. On this side. These ones. And I go to the very beginning of our animation. And now I set a keyframe for those many, many CBs and press S. I don't see anything here because I'm working with components would be too complex to show here, to display here. But I see a little red stroke here, which tells me there is a keyframe. I go to the very end and a set another keyframe without actually doing anything here. And now I go to the middle and I press the key w in order to move parts of a geometry up and to the back. And there press S again. And then I have this animation. And so I can animate components. Finally, in this chapter number seven of our nerves, modelling coals, want to show you the influence of deformers on curves. Let's create a curve and move it up in order to separate it a little bit from the timeline. And when I press eight, I see that I have not, not a very complex curve, but I think it's okay for my purpose. This is the start of the curve. And I want to animate only the end points here. Maybe these four. I can now go to the very beginning of the animation and press the key S that sets keyframes for these four CVs. I go to the very end, and I set the same key frame, frame there. And then in the middle, I go down and stretch them out a little bit or make them more straight. And that's it. So when I go back to object mode, you will see that the surface of the curve is not being deformed in animated in this part, but only in the front part. And that's basically how I did this animation, which is a little bit scary, I guess. It's an extrude. And the animated only the curve which drives this extrude. Your homework. Use the sculpt, deformer and NURBS sphere to create something like this, like sort of a helmet. And apart from that, I wish you a very nice day till next time.
9. Cutting, intersecting NURBS surfaces: Modelling to this with Autodesk, Maya led him to this class. And so glassy class. It's about NURBS modeling with graphs and services of the beauty. That is n queens of industrial design. Industrial design. No, no sound design without nerves. So sit down, relax and enjoy this course. Hello, We're starting the number eight, NURBS modeling. The homework for you was the, at the end of the last chapter, to create this kind of hell middle, however you want to call it. I show you briefly how I did it. It's basically a NURBS sphere. This one. And I use the deformer, the sculpt, the former in order to deform this. So this is the original sphere. I gave it a higher resolution using the make NURBS sphere section in the attribute editor. See here I have sections 39 by 33. I just wanted to have a higher density of the patches here in order to get a nice defamation. And remember the sculpt tool, which is under the form sculpt. You have two segments, two parts here in the outliner you see them properly. One is the sculptor, which is this sort of sphere, which you can move in like this and up like this. And the other one is the scopes stretch origin, which defines in which direction you do the deformation. So this is a vase or whatever. I have one light in the scene. It's an ice sky dome light, which is under Arnold lights and sky dome light. And I gave this geometry shader, Arnold standard surface shader, and I gave it a color. We're ready for our new c now because today we'll concentrate on another technique to model NURBS surfaces. And this is about cutting the surfaces and drawing curves on surfaces. So I think we start with a sphere again. And I want to draw a curve not in open space like this. So it's located somewhere in space. But I want to draw it on that surface. This is how I do it. Under the magnet section up here, you have the tool which is called make the selected object life. Well, you select the object and press the magnet here, nurbs surface one is live. Now, what does it mean? It means that all manipulations now will be un, until you click here again, will be taking place on the sphere. Example. We create a curve. And you see it does interesting things on that surface. When I press Enter, I actually have a curve on that surface. When a heightened surface, actually I cannot do it. I need to untick the magnet now. Now can unhide the surface and I don't see the curves. Why is that? Because the cars are not real curves yet. They are curves on surfaces. This is a pretty crazy curve. Of course, in most cases you will have a very controlled kind of flow of this curve on the surface. But the main purpose to have a curve on the surface is to cut the surface in different parts. And that's what I'm going to show you with this really crazy curve. It's a single curve on the, on that surface. I select the surface and up sphere. There's nothing else here. And I go to surfaces and trim tool. The trim tool cuts a surface. If it has a curve on it. If it doesn't, it doesn't help you in any way. So the trim tool changes the view totally. It looks a little bit bizarre. And down there in the status line you see the term tool click Button 1, that's the left mouse button on the surface to select a region to keep. Okay, we need to go around this object and imagine we want to keep this region here, up here. And maybe this region. So keep two regions. Now press Enter and I have an interesting rest of remaining shape of my surface. Something very important here to note is you have a surface which is not really complete. You see these lines here. They are, okay? But this line, for example, is interrupted. The NURBS surface, which is cut into several pieces. Still thinks it's complete with just not showing these parts here. This is a totally different thing from the polygon world. In the polygon world, if you create a sphere. It's moving to the side a little bit. And right mouse click, you have faces down here. And when you select a couple of faces like those and the ones here, and now press delete. You actually have holes. They're really holds, whereas the NURBS surface does not have real holds. This just fake holes. That's why you can, whatever you do with this, you can rebuild it, make it more complex or whatever. The surface still remembers what it's made of. So when you go back to surfaces and untrimmed, you see the original surface. Now I'll show you a different way to use this tool. Let's create a new scene again. And we start with a NURBS sphere again. Now we create a circle. Now let's rotate it. And here's the shortcut which is quite nice to have. It's a shortcut which snaps the rotation. You press and hold the key J. And now you can snap, rotate this and I want to rotate it by one, by 90 degrees. It's the same as going to nerve circle here, typing in rotate x 90 degrees. That's basically the same thing. Now, I'll make it smaller. And I even smaller. And a duplicated That's Control D to duplicate is at exactly the same place as the original. We select the two circles and the sphere go to Surfaces. And now we Project Curve on Surface. Why are they smaller? Well, because it's a real protection, as you can see. And when you move this circle, for example, closer, you see that it's actually, it is a projection. And now you can go and select the sphere and go to surfaces and use the trim tool. Now the trim tool sees that you have projections. This circle projects, curves on both sides. And it asks me again, press the left mouse button, Button 1 on the surface to select the region to keep. For example this. So I keep this sphere, but the withholds now three holds. The history of the, it's called construction history of Maya is one of the key factors. It has been in Meyer since version one. It was a really remarkable step forward in the computer animation history at that time. It gives us the ability to change these things afterwards. So because the sphere remembers what it's made of, we have a look at the topology of that sphere. It's interrupted here. It's not intact. It is being rendered like this. Very nice. But a NURBS sphere can not be really cut into pieces. Here's an example where kept both parts and created some kind of window effect. A window in a chassis, on a boat or in a car. To a very simple. We create a NURBS sphere again. And this time we cut that sphere into pieces, into several pieces, not using curves but other geometry. For example, a second sphere and move it out here. And I select both of them and then go to surfaces and intersect. Here, I see ways to change that intersection line. And now when I click on this sphere, I can trim it again, surfaces and trim and want to keep this part. And then I have the hole which was cut out by this second sphere. And it still is. Now can hide the left sphere. And this sphere. I can cut it into two parts using, for example, the plane. And I rotate the plane. So it's a little bit more interesting. I select the first surface and then the second, the second last selected, cuts the rest surfaces and intersect. So they intersected. Now, when I don't touch this diamond here, the intersection curve stays as it is. And now I can go to trim again, surfaces and trim tool. And I just want to keep the upper part and the lower part is gone. And now I can hide this. And I cut my sphere with two cutting tools. Press the ALT B to get an int more interested in background. Now let's finalize this. I want to project a letter onto that surface and cut it out. And for that purpose, I wanted to have hard edges. And I double-click this the first time we double-click this tool, Let's double-click it. The press reset. It goes to three cubic. That's the nerves topology. A three cubic function. When you go to linear, and we need to put it back to three later on. When you go to linear, you have curves with sharp edges. So when we create, for example, a t, Now, let's go to the top window for that and press the key for. So I see only the wireframe and I can see my tea properly. Now use curves snapping with a key C to close that surface. Now we go to the perspective view window and move the tee up. And now I'll select both of them, the T and the sphere. And I go to surfaces and I project a curve on the surface. Now the tea is on that surface. Now I select the surface and I trim it with a trim tool. And I want to keep this part and cut the t out. Now when I keep this curve, I can still modify the position of the t, make it smaller. For example, put it over here. Your homework is this. Create a NURBS sphere and try out several cuts using the nubs torus. And with this. But we feel very good day buh-bye.
10. Limitations and strengths of the NURBS topology: Learns modelling. Today's with Autodesk. Maya. Welcome to this class. It's a glassy class. It's a NURBS modeling with curves and surfaces of beauty. Labs are the kings and queens of industrial design. Industrial design. No, no smart phone. And without nerves. So sit down, relax and enjoy this course. Health folks, we're entering chapter number 9, NURBS modeling. And the homework from last time was create a NURBS sphere, create a NURBS Taurus, and try out several ways to intersect the two of them. So how do we go about it? We select the surface where we want the other ones to cut in. Another one, only one in this case, then I select this one. This cuts all previously selected surfaces. So only one in this case sounds complicated, but it really isn't surface and intersect. And now I have these surface curves here on both objects by the way. And I can hide the torus. Here you can see the cutting part, but still the whole surface is complete. That's why I need to select it and go to surfaces and use the trim tool. And the trim tool asks me what parts I want to keep about these two parts here. Cool. So this is one example, other examples on here, and I rendered them with a light, which might be interesting for you. Arnold, lights. It's a physical sky. It simulates the real sky, blue sky with a son. Before we proceed to basic considerations about nurbs polygons, I want to show you something which is related to this insect tool. It's the Boolean operation tool. It sometimes works, it's sometimes doesn't work. And the results are often quite amazing, but sometimes frustrating. So they're not often used in NURBS modeling. I think of never come across many usages of Boolean operations here. But in the polygon world, they are very crucial and very powerful. Okay? Absolutely tries its best. The Union tool unifies two or more surfaces. This is topologically not possible in the nerves well, so it's sort of does a union with many different kinds of sub surfaces. The difference tool creates the difference between one and other surfaces. For example, you cut out the torus out of the sphere as we tried it before. But not with a whole, but rather with a filled complete looking surface. I'll show you what it's about with the intersection tool. It's basically the remaining rest of the cut of the two or more objects intersecting tool. The intersecting tool needs no selection. When we started to put, we need, of course, geometry. So let's create a sphere and another sphere. Nurbs fuel, that is, scale this one up. And now I select nothing and go to surfaces and the Booleans Intersect option tool status line. It tells us select one or more NURBS surfaces to form the first object. Well, how about this one? Then I can read down there, select additional first surfaces objects, and then press Enter to select the second object. That's what I'm gonna do now, I press Enter, and now I'll select the second one and immediately I get this intersection. And you see it's different from the intersect tool because it tries to create a full surface with borders all over. But in fact, when we look in the outliner, an open this section we have three surfaces. Y3, Y1, Y2. Well, because that's the way the nerves world tries to work. We could do this easily with two, but here it does it automatically with three surfaces. And when you render them, you might run into a frustration. Let's try the R-naught sky dome light and render the scene. So I used an old standard surface shader with the preset blood. And you can see that there are somethings, few things not really working properly. Strange edges, et cetera. And when you look at the back, you have this scene here because we have three surfaces, all in all. If you want to have the cleaner flow of these curves here, you can go to the tessellation. If you remember from a previous tutorial, we select one of the surfaces in the top surface in this case. And we find tessellation attributes here in the attribute editor. And you can enable the advanced tessellation and change different kinds of things here I just use the crank up these values here for the u and v, and then I get a more round impression. And that same applies to the other surfaces. I can do it one-by-one, enable and just raises value here. You see it gets really round and probably the same with this surface, which I currently don't see because it's at the back. And now it looks better. But still, when we rotate to the back, we have this seam, which is obvious because we have two different surfaces. So try out the Booleans if you like. The Booleans are really powerful and very, very nice to use in the polygon world, which is here, mesh and Booleans. And as you can see, it's here at the very topic is so important and so powerful here, whereas here it's at the bottom. And I'll show you a basic thing which you might keep in the back of your mind before you decide on modelling something with nerves or with polygons. I give you an example. Here. We'll create this cylinder. And the cylinder has two openings at the top and at the bottom. Now let's go to nerves cylinder and create a second span in the vertical axis. Because I wanna do something with it now, I right mouse click. And what I haven't shown you in the previous tutorials is the, how the hull is the selection of control vertices, CTO, control vertices are these dots. And the hull connects all the ones in one, well, on one level. So how gives us this, these kinda lines here. Now I want to select the top how and the bottom how Hall. And scale the hall down a create a hole which is getting thinner and thinner. And when I'm finished with this, I have something like a NURBS sphere. As you can see here. Let's deleted and create a new nurbs cylinder. Here in the nerve cylinder. I can change the start and the end sweep. When you look at the vertical lines, you see that this line is thicker than the others. And that is because there is no round, really round object in the nerves world and nerves world has u and v perimeters. This, these ones and these ones. And it, all the surfaces come from a flat surface. Basically. When you open the cylinder like this, you see it basically coming. You can press it flat. So it becomes a flat surface. Basically this object, even the, this complex object like the torus, can be opened, go to Make no nerves Taurus and open it. And this is U and this is V. So you have two-dimensions and that's basically all. Whereas in the polygon world, no continuous surface. Let's delete all this and create yet another cylinder. I want to show you how to model a head with nerves. It's not possible. Rotate this this is going to be well the front of my face. And that's why I scale it down. Like this. This is going to be the mouth. Probably it is. Now let's select this one. By the way, you can use the arrow keys to march from one to the next one and move this forward. And arrow keys this way, and move these down. Can you see where the eyes will be yet? I think pretty obvious overhear somewhere over here. We can make the the back of the head a little bit more elegant like this. And again with the cursor keys, I can slim the neck a little bit. I want to stop here. Because when you do character animation and you need a head, the head needs circular muscles. And the circular muscles around the mouth are perfectly displayed here you can easily animate these things here. For example, when you go to Control vertex, vertex and select this one and move it up, you get some kind of expression of the mouth. If you select these to a what do you say in with a few more halls and more topology, you can create lips, perfect lips in nerves and the nerves world. But we have circular muscles around the eyes as well and around the ears. And you cannot create them with this single surface. With this nurbs surface, it's an elegant surface, really very simple, very effective. But no possibility to create a structure like this over here because the nerves world has only two holes. So to say this one and that one. That's the reason why you cannot model a tree with a single NURBS surface because the branches open sort of another hole. And you only have two of them, create a new scene. And we go to Windows settings preferences. You don't need to go there, but I advise you to go there because for Character props. You need other dimensions than four what we did so far. We're currently in the centimeter realm and we want to get into the meter rail. So you go to Settings, Preferences and preferences. And in the middle you have the settings. And they said that the working units are set to centimeter. That means this is one centimeter, this is two centimeters, et cetera. And we want to go to meters. Why? Because when we import a character now and many are included in Maya and in other computer animation packages. If they come in the dimensions of meters and not centimeters because they're not little toys, they're actually characters. So what I can do now is under Windows, general editors, I have the content browser. And the content browser has a section which is called modelling. On the modelling you have sculpting, base meshes and bipeds. That's us, humans. And I select the basic head with a double-click. And he lands in the scene here. If we hadn't changed the dimensions from centimeters to meters, he would be so big that you would wonder, where is he at all? Now, he is here. When I select this object. And actually I want to shade him a little bit Material Editor attribute. I want to shade him a little bit darker so we can see the green lines better. You see circular elements here and here. Around the nose and around the ears. Lines which come down from the top of the head sort of stop here. And they intersect with a round structure. And it's the same here and there. So this head can be easily animated with eyes and mouth. But NURBS head could only be animated with the mouth. And the limitations of the polygon world. Obviously, the many polygons such an object consists of, you can see them here with different kinds of shading. These are all the little polygons. It is made of. In the nerves world, we would have a constant flow of lines. If it's a single NURBS surface. If you don't want to have these segments, you need to rebuild that head. And you can do this easily with mesh and smooth. And you can smooth it up to a high degree. And now it looks much better. But now you have a massive amount of polygons. If you want to know how many. Go to display, heads up display and poly count, it's about 12000. As opposed to the NURBS geometry, which had just a few bites, really a few lines. Well, your homework is this. Create a tree trunk. This could be a tree trunk if you scale it higher, but make it a bit more elegant, use the hubs for that right mouse click and hold. And if you need more resolution, just think about makeup cylinder. And you have the sections in the spans. Have a nice day. Bye.
11. NURBS tools for all purposes: Modelling or Today's with Autodesk. Maya. Welcome to this class. And so it's about NURBS modeling curves and surfaces of butane. Kings and queens of industrial design, industrial design design without nerves. So sit down, relax and enjoy this course. Now, we're entering sustain the template. Today we'll talk about nice and little tools. They're not as important as the big ones. And your homework last time was to create a tree trunk. And I want to show you something which you see popping up here. When you press the key D and hold the key D, you can move the pivot. The pivot is the part where you, well, where the instruments where you use the translation and especially the rotation, can be well adjusted. The typical thing is to pivot in the middle of the object and then you scale it. You would scale it in this case, downward, end up with, so this is just a matter of comfort. Now I right mouse click and select a couple of hulls, the Huldah arrangements of CVs. And I move them to the side into several manipulations in order to create a tree trunk. And why only a tree trunk and not a whole tree? Well, I mentioned that in, at the end of chapter number 9 because the nerves topology does not allow to create in one surface the whole tree, because the branches need special topology where they start from the stem. And this cannot be done with a NURBS surface. When Wouldn't you do refinements in the NURBS surface? It affects the whole surface. That means you cannot do local adjustments as you can. Polygon world. As you can see, I'm trying out different things and then closing the thing sort of at the top. And here you see that there's no chance to make a branch here because we don't have enough geometry. If we would rebuild that surface, we would have probably enough geometry there, but all the rest of the surface would have to far too much geometry so we wouldn't be able to model. So this is a polygon cylinder. And then the polygon world you can just select. Single faces and the rest of the surface does not care about it. You can use the extrude here, which extrudes exactly 1.1 phase out. When you repeat that command, everything is going fine with the local adjustments. So on the left is the NURBS surface which has a very nice trunk. And on the right side it is a polygon. Now we talk about several nice tools and lock length and unlock length are the first ones. Let's try it with an arc. And I select the last CB. And when I move it up and down, all the rest remains where it is. I can stretch this as far as I want. And now go back to the optic mode and lock the length of this curve. Now I do the same thing, right mouse, button and control vertex. And when I move this, the whole curve adjusts appropriately. That's an important tool when you want to keep the length of a curve constant. And there are many cases where you would want to do this. For example, the length of a part of a river. This is a rendering which were used three colors for the curve. Now we're going to curl a curve. And for calling, you need a good resolution because occur doesn't work in a simple curve with only three spans. So I create a curve with only three or 44 spans. A very simple straight line. You see all the dots there. Well, not all the dots, just a few. And now I need to rebuild it in order to see a real nice curling operation. And then I go to curves and I rebuilt that curve. And the default is for, let's do 40 and our reset the settings after applying this command when I press F8, now I see lots of dots. This is nice if you would have typed in 100, no problem would have an even nicer curve. Now let's try the curl. This is what a curl is supposed to do. And it curls from the beginning to the end. It, it gets wider at, at the end. And when I press the key G, which repeats the last command, I'm doing this right here. It gets a little bit funky. So the curves look very good at the beginning. And when you apply the operation later on, especially with a middle sort of resolution, you run into funky curves like the one on the right hand in the rendering here. Now let's talk about detach of curves. The curves have not only control vertices but curved points. And that's what I'm going to select, that actually points on the curve as opposed to the CVs which are around the curve. And then I detach the curve. And on the left side in the outliner you see now have three curves. I can throw away. The right one and the left one and the middle one is remaining. So when you cut, want to cut away certain parts of a curve, use this tool. Detach. Smoothing does exactly what we expect to do. Now, press G to repeat the last command which was smoothing and straighten, makes a straight line of that curve. So a little tools. And it's good for you to know that they're somewhere there and you won't need them in all of your modelling tasks. But as long as you know there, there, that's fine. Same applies to this very powerful tool, which is the edit curves tool, where you change the tangents of the flow of the curve. It's a little bit similar to Adobe Illustrator vector graphics. But here it is in 3D. Obviously. Now we're getting to the open and close commands. Curves can be closed or open, which is pretty obvious. I create an arc again, Clinton create a new one which is a little bit more sort of closed. And with the arc selected, I close that curve and then I have a closed OK. Yeah, that's what it's supposed to do. And I open it again, and then it's like before. Now I draw a second curve and I want to use a line and attach that to commands. Let's try allow a line. And you see that the right curve snaps to the end of the left curve. That means line snaps the curves without creating an compromise between them. The tangents can be adjusted, many things can be adjusted, but normally it works just okay if you want to snap one to another and the Attach is working differently. Look at this. Now we do have a nice flow between the two curves. So the end of the first one being adjusted and the beginning of the second one is being adjusted. And in the attribute editor, you can change the bias a little bit. There's a tool which may, might sound strange that CB hardness, well, in some cases you want the flow of the surface not to be that flowy, but more harsh. And in that case, you just select the CVs and make them hard. Now you don't see a big difference, but when you move the CVs now you see that the flow is pretty edgy. Important tool if you want to mix NURBS technologies with nice flow and with hard edges. There's a tool called offset curves that offsets the curve in a certain direction at a certain distance. It's like a copy, but it's not exactly a copy because it tries to, well, adopt to the general shape of that curve. I don't know if I said this properly, but let, let us try it out. So offset of it now it looks okay like a scaled down copy. But when I change the radius, it gets really strange. It's not an exact duplicate. It's just it's something which is slightly bigger and respect see previous size of that curve. So with scaling, you wouldn't have that success. Here's a rendering of this funky way to offset curves. Same applies to surfaces. We'll see that later. Now we're moving on to the surfaces. I created three curves and I want to use the boundary tool. The boundary tool is similar to the by rail to which we talked about quite a bit. And I select the curves in a certain sequence. And then I use boundary and I get this surface. Sometimes I need to press three to see the nice flow of that surface. And you see that the surface only uses the last selected curves, the one at the bottom. So the selection sequence is important. Now select the right one last and apply the same command again. Now you see the curve start, the surface starts at the right curve, but it respects the shape of the other curves. Of course. Now select yet another sequence. So the left one is the last one. And with boundary I have the surface respecting the left one, the last selected curve. So that's boundary. It works with more than three curves as well. And here you see a nice representation. Well, this applies to all industrial design. You need to make cool renderings. Now we'll talk about the command which is called Pebble plus. That's an interesting command. It came much later into Maya than the Bevel tool, and most people use only the Pebble plus now, let's create something where, well, you'll see where I'm getting to. I create two circles and I modify the shape of the circles. When I press the key B, I get the so-called soft selection. And when I press B again, I can select the points as they are. Modelling curves is such a nice thing. And the more experience you get with modelling the curves, the more you see at the very beginning way want to get to and how these two simple curves evolve into a really cool surface. Namely aloft. And I reverse the surface so I see the gray. All right. And guess what is this going to be? It's going to be a coffee cup. So I have a hull and I select the top howl now and I invoke bevel plus. And here we have the top, the lid of our coffee cup. In the attribute editor, you can change the way the battle works. And one thing you might keep in mind is that this is not possible in the nerves world because all of a sudden, without telling us, we left the nerves world. And this object, the bevel, is a polygon. It mingles nicely with the original NURBS surface which is still there, which is the bottom of the switches, the main cup, the lid is a polygon. And why is that? Because we cannot create such a high resolution at the rim. With a low resolution at the bottom. In the nubs world, we need different kinds of surfaces. And this is a rendering of the same object. And if you have a look at the strange texture at the lower third, this was done with a ramp. So I had a ramp on the very right side. You see when I select the material and this is the ramp can make it wider or thinner. And the ramp is pretty straight normally. But there's a placement node which is available for most texture materials. And I change the noise in u and v. U and v are the two dimensions of an App Service. Now go to rendering. And in the rendering menu, which is at the top, you can reach it through several ways. You need to enter a name of the animation. And this is important name, number and extension because you don't want to render just one frame, but a sequence of frames, That's the, that's the next value you enter up to frame 400. For rendering, I need to go to rendering in the left part of the window. And now I have the rendering menu in the middle. And I can use batch render. But Batch Render, that gives me a watermark. And unless I have a paid license, I have the student version here, which allows me to render the sequence. And this is what comes out of it. Very nice. But it blocks you from working with Maya why it's rendering. Important tools for the NURBS surfaces are aligned and detach. Similar to the curves. Commands align and detach. Let's create a sphere. And open that sphere. Now create yet another sphere. Open it as well. Now select both of them and apply the attach command so they're attached to each other. Now, it looks kinda strange. I press the key for again, no three again in order to get a smooth flow of that new surface, which mixes with the other surfaces. In the attribute editor, I have different options like reversing the connection parts of the surfaces. And I think a quite like this one. Well, that one note, this is a little bit too much. Yeah, I like this one. I wait. Maya needs to make a compromise between these two surfaces. The surfaces have a beginning in it, at the end and end. And that's why they need to do this. So a hide the original spheres now and I see the new surface, which is a totally intact and wonderful NURBS surface. This is not possible in the polygon world like this because we have a very simple surface, it's very simple. And we have a nice flow of all the lines. Now oriented this with the toon shader, the Arnold toon shader. And it renders pretty fast. And on the left side you see a little bright part. That's my light. That's the only light in the scene. It's a so-called mesh light. So I created a cylinder and I turned it into an analyte, but that's for something else. Now let's detach that surface. Detaching goes along the nerves topology and as you know, we have an infinite number of asthma palms. So, uh, just move this up or down to my liking. And then I detach the surface, which is a single surface at this point, at this line, it's not a point, it's a line. And now I have two of them. And as I said, several times, you need a nice rendering. That means you need to deal with light and color. Love this. But the viewport view in my is not really sexy. But the rendering is now we extend the surface. And it looks S because with the curves pretty funky, that depends on the distance. Here is an example where I tried this out. It extends nicely to the front and to the back and to the bottom. And when I repeat that command, it looks really strange the more the object leaves the original position and they're rendered this with a glass shader. So get a really funky thing which doesn't remind us of the original surface. Now side window, I create a couple of curves. Why would I do this? Well, you see we get into the next command. In the NURBS surface modelling section. I move the one to the side, a select both, create a loft. Now in the attribute editor, I can raise the resolution in D, C, U, or V direction. So I have more parts in between. And now I extend that surface. A reset the settings in the option box. And you see how the surface grows to the right side, because that's the end of the surface. We started it on the left side, but it can also extend it to the left side and to the other dimensions, u and v are both. So it tries to keep the previous topology and well, extent the surface as it's called extended, it does extend. This is the extended surface as a spacecraft, really simple rendering. And here I used in the Arnold Render tab, I enable the motion blur, which is not very obvious here, but for a fast flying object, it's not that bad. Forget about this rendering. This is a nice application of the extend extend NURBS surfaces. Now we insert is a palms or ISO palms, isoparametric parts of that surface. We'll try it with two or three approaches. I select the palm here. And with the shift key, another one, and the third one. So I've selected three or four now and insert the palms. Now I have a higher resolution and it goes all over that surface from the top to the bottom. That's what you don't need to do in the polygon world. The polygon world would enable you to modify and the resolution of just a little part of that surface. But here it affects the whole part from the top to the bottom, but not at the back. And working with the house is ideal here you can use the scaling tool or the Move tool, or even the rotation tool. So let's try this again with a cylinder, nerve cylinder of obviously, you see the resolution is pretty crude, very simple. So when I scale out the hull here, it affects most parts of the surface, which is, which is very nice, nothing against it. But I select the palms and I insert two. I have more hubs now to work with, and it can scale these things more locally. Now, you cannot move the ISO palms on that surface. You can select them at any place on the surface, but you cannot move them. You can however move, rotate and scale the hulls, which affects these are poems. The ISP arms are just a representation of parts of that surface. Whereas the heart are actually points where you can change the topology. I put a yellow light into that vase. The surface editing tool works similar to the curve editing tool. It lets you change the tangent of a surface. This might remind some of you of Mapbox. Mapbox however, works with polygons and this is a NURBS surface. Finally, we'll create yet another loft because it's the standard way to create NURBS surfaces, intelligently designed curves, and then you have intelligent looking surfaces should throw just a loft function. We changed the resolution in one-dimension. And with a rebuilt command, we can do this rebuilt surface. Before we do this, we'll delete the history of the surface. The surface now forgets where it came from. This not crucial, but it helps and sometimes it confuses when a story is still on because then you move your surface, for example. And it still depends on the position of the curve. So it's a little bit odd. Now it's totally independent. And for matters of a lean scene, I delete the three curves. The surface is of a tiny resolution yet so amazingly smooth for spans in you to envy with four-by-four. Not much changes, but we have four by 100. A lot happens. I could've done with inserting it is above the ISO palms in the middle. But with this high density of ice bombs in the v direction, I can add sophisticated deformations ad lib in the v direction. With nice lighting and texture, I created this rendering. In one of the rims. I inserted a red strip by duplicating surface curves and using the loft function again. If you do industrial design, you need good looking materials, that is colors and textures. And you need good lighting. And you can go much further. For example, depth of field, which makes a real classic. Here are two commands for you to explore yourselves. Duplicate patch. The NURBS patch is a part of that surface. And you duplicate it and you can scale it out like in this rendering and detach. And here I have a flickering light inside this object would have needed more anti-aliasing for rendering. So it's looking a bit grainy, but you get the point. Now here's your homework. Create any kind of a NURBS, revolve and attend, which is not horizontal and not vertical. It's like sort of diagonal, maybe 40 degrees or whatever. If you manage to do this by rotating hulls, try to create a second NURBS surface, which fits perfectly in that recess hint. Duplicate certain is a palms create a loft for the new surface in order to not let it extend around the complete object. That's really sophisticated. Cut it with a detach or the intersect tool. See you next time for session number 11.
12. A polygon cat and the conversion to NURBS: Nurbs modeling today. So with Autodesk, Maya, welcome to this class. It's grassy class. It's a bad NURBS modeling with curves and surfaces of beauty. Verbs are the kings and queens. And thus real design, industrial design. No, no. So without nerves. So sit down, relax and enjoy this course. Hello, this is session number 11 out of 12. In the last tutorial, your homework was to create something like this, meaning a dent, which is not horizontal or vertical. How would we do this? Well, I asked you to start with a revolt, and the revolve normally starts with one of the orthogonal windows, for example, the front window. And we create a curve of some kind. Maybe this kind of curve. And we do a revolve, which is this icon here. And in order to have it a little bit more funky, will deform it slightly. And that's why we go to any nation. Now, you may remember that from previous tutorial and deform. And we go to a nonlinear squash the former. And the most of the deformer start with no effect because the factor here or the amplitude or whatever it's called is too little. And we don't wanna make it to rocket. And we move it a little bit to the side. So we have a slightly asymmetrical deformation like this. And we'd done, and in order to forget about the history, we delete the history of this object. So it forgets the deformer and it forgets the curve it was made from. This is just to clean up the scene. Delete by Type History. And by the way, you can delete the curve now. So we have quite a nice nap surface. If you have a look at the topology, we have more or less square part here. And the homework was going like this, creates something which is not sort of horizontal, but which goes sort of crosswise. When we. Right mouse click and select the hulls. We see that the, these ones are more or less horizontal. And that's exactly what we need to change. We go to the rotation tool and we rotate these ones up here. You need to keep in mind, don't rotate them too far because then they will touch the next Howl, which will cause a problem. But if you want, you can make space and select with the arrow keys, you can step down 11 lower, and yet another lower end. When you go up again now you have a little bit more space too. Really rotate this. Like this. This is the starting point for doing your homework really. Now I select the ISO palms or is a palms. And I have this nice little crossing part here. I need more geometry here in order to create a dent. And that's why I move this over to the side a little bit. Then with the Shift key, while these three, for example. And now I go back to modelling and two surfaces. And I insert is the pumps right here. So I have more geometry here. It's local. Higher resolution of geometry, but it's not exactly local because it goes all around. And in the nerves world it's not possible to create just the amount of topology here and leave all these untouched. This just not possible if you raise the resolution either in you or in v. And that's exactly what we did. And now we can pick the halls again because we have more of them now. And here's one in the middle. And what we do now is we scale it down and you see it makes that dent. And in order to not have that dent in the back, we just move it to the back. So we have the dent only up here. And one step down in the hierarchy. We move this forward and maybe up. And you see, this is how we can achieve our goal. So when we go back to object mode, we have exactly this rim here. If you want to fill it with a surface like the red one in the example I gave you, you would typically want Shouldice completely. You would typically select the is-a pounds. You're interested in this one, that one, and that one. And duplicate them using the duplicates surface curves because he is a palms are not actual surface where they're not independent curves in you need to duplicate them and then you create a loft from them and change the position of the middle one. So the red part will stick out a little. Okay. This tutorial is about the nerves and the polygon world and how they are related. There are many reasons to convert our nerves objects into polygons. Main reason would be typically to print it out with a 3D printer. And the 3D printers want an OBJ or STL file and not a NURBS topology. They don't want a NURBS surface. But the nerves world of course, is easy to handle as you've seen with this object here, it's much more complicated in the polygon world. And you have a very, very, very, very clean layout here of the curves. It's just a beautiful, aesthetically pleasing surface if you like it or not. The layout of the lines here is just perfect. What kind of menu would we use to go to the two, transfer this into the polygon world? It could be under file, could be under edit, it could be under Create because we create a polygon surface you can select doesn't help us much, but it's unmodified. That's a thing in my where you actually get stuck. If you're not familiar with where the menus are, because it's a little bit ambivalent where this, these tools about the conversion are, but they're under Modify and convert. And by the way, if you don't find a menu, go to the help and find menu. And when you type in convert, you will be well pointed to this Modify menu here. So we convert this NURBS object to a polygon, and we need the option box here. When we reset the settings, we will create a polygon object with the type of triangles and with different settings right here that let us have a look how this works out. I apply this and I move the polygon object to the side. It does a good job Really. Because it keeps the surface. It makes it a little bit more edgy as you can see. But it is okay. But when you compare the two of them, this is much more complicated, especially in this area where you need lots of triangles in order to replicate this part here. And on the other hand, in the nerves world we always have rectangles. And here we only have triangles. That's why we delete this object and select this one again and go to quotes. I typically convert the nerves to polygons using the quad function. If you select count, that means you will get an object which has the same count, the same amount of patches, so to say as this one. Let's move this over to the side. You see it looks very similar. But in order to keep that nice layout of the faces as they're called now these ones, you don't have that dent in here. Just a little hint that there was a dent. So let's delete this again, select this one, go back to the reset settings, select just the quotes and not the counts. And then we get something which is, I think much better. We have a higher resolution here because of this edge here. And it mingles off, fades down, down there. And on the upper part is very similar again. And this part here has more polygons in order to create that dent. It's very nicely done. And this is the typical process for nerves to polygons. Since you have that polygon now if you're happy with it, you can file and export the selection when you use the option box here, you need to use the option box. You have different file types which you can choose from. The typical one would be an OBJ file, OBJ export. And for other export options, you need to install plugins which support that export. And the plugins are here and the windows, this I think makes total sense, settings, preferences. And down here you have the plug-in manager. And that's why the plugins land to convert certain types of surfaces into other types of surfaces. For example, for printing in 3D or for CNC machines which create a piece of metal out of this object. So we are fine with exporting things from the nerves world to the polygon world. Most objects you can download from the Internet. Polygons, the characters, for example, all the props like a tank or a gun for the military games, or a liver for medical visualization that all polygons. So you might want to have these polygons and converted into nerves. And this is not that simple really. An example. I'll create a new scene. And I go to windows because I don't want to download anything randomly from the web. I use stuff which is inside my, inside of Maya. So I go to the General Editors, and here I have the content browser. And in the Content Browser you find certain things like under the, under the modelling section here in the modelling folder, you'll find people, you find sculpting base meshes. And what I'll choose is the animal section. And here I have a cat. Just to point you to this folder, you're in your content browser. Then you have a modelling section. In the modelling section you have sculpting base meshes. And inside of that folder is the animals folder. And we'll create this cat here. We actually don't create it. We just imported into our scene. Now when I close this, the cat is there and it's huge, and I scale it down. It is a very nicely modeled. Polygon. Cat. Could we do this in nerves? Know we couldn't. You can always look at objects from the nerves perspective by thinking about two poles, the north and the south pole of a NURBS sphere. For example, if the north pole would be the mouth of the cat, what we would be the south pole, maybe the end of the tail. But then how would you go about creating these legs? It's impossible. So typically, with an object like this, you would have the main body like a deformed sphere. Then you would have the head as a deformed sphere, you would have the ears sticking out as separate NURBS surfaces and the legs as well, and the tail as well. So different NURBS, surfaces which you need to glue, somehow, glued together. Now, when we select this object as it is and go to the Modify menu to find a conversion. We can convert polygons, two subdivisions, but not polygons, two nerves. There is no such command here. So we need a bridge and you need to know this. It's a subdivision is like an in-between state between the nerves and the polygons. Once we've done this polygons, two subdivisions, we can create a new object, which would be the third object then subdivisions to nerves. So let's start with polygons, two subdivisions. We have an option menu here. I will just ignore it and we create a new object. It looks quite intact actually. And it gets rid of the original polygon object. Now it's a so-called subdivision object, which is an in-between state. So I go back to modify, convert, and now I convert subdivisions to nerves. Let's open up the option box for, for this, we can replace the original object, we can hide it or show it. And the output type is nerves and not Beziers. In vector graphics, in 2D vector graphics, that's the typical vector graphics norm here. It's a Bezier curve, as opposed to the NURBS curve, which is of a higher level because it's in 3D. So we stick to the standard menu here and apply this. And now we see something green. And that means in Maya that we lost the texturing information. Select the whole object here, all these whatever's we'll get into that pretty soon. And right mouse click and assign existing material. Deal. We have the cat Blinn, that's the brownish color which came with a cat. So we can do this and now we have the cat looks very similar. Actually. Nice job the conversion is done and now we have a NURBS surface. No, we don't. When you open this folder here with the Shift key, you see that we've created lots of NURBS surfaces. This is one of them. Where is it? Here's another one. So we have lots of NURBS surfaces and they are not glued together. You actually can move this out here. And you have a whole hint, hint here. And this shows the limitations because of the local properties of the polygon world, which cannot be transferred to the nerves world. So let's take one step back, back to the polygon cat. I give you the example of this leg here. Let's select the faces. The faces are parts of polygon surfaces and only the leg. And a very clean selection, we should do a clean selection, meaning the top is on one level and the bottom is on one level. Anyway. And now we can go to Edit Mesh and detach this part. It's still part of the whole cat. That's why we need to add another command which is under Mesh and we separate it. And then we have two surfaces which are visible in the outliner and hide the cat and just to, just keep that leg. Because we want to show how to use this as a reference to create nab surfaces. Actually not as a reference only, but we'll use the convert to NURBS topology here as well. I create a circle. Now scale it down to thickness of the leg of the cat. Limbic duplicates and try to match the duplicates to the shape of the leg at different levels. Where the press a key for I see only the wireframe display, which is quite handy in this case. Press F5 again in order to get back to the shaded view. And working with duplicates, which is Control D is the keyboard shortcut. And tiny modifications that's typical for the nerves world. He do tiny modifications of curves. And they finally lead to very nice surfaces. You can create a loft from all of them, have a NURBS surface by using the polygon as a reference. And you can do this process with the whole cat, will be very rewarding, really, quite straightforward. As a final adjustment, I scale down the bottom, how to close that surface at the bottom, which is not crucial, I think, for rendering in most cases because we won't see much at the bottom of that leg anyway. We could also select the so-called edges. And select them in a row, in rows and duplicate them. Then however, will have several small curves. We need to connect them to one curve and then we can create a loft as well. Now I convert it to a subdivision and then to a NURBS again. And then we have a quite an interesting new surface. And what I do now, in order to link these four surfaces together, I delete the bottom one because that is a different story. So for surfaces, and what I do is I select the first one, whatever one, and the neighboring one. So these two are selected now. And then I go to surfaces and attach. I repeat this command with the key G. And I repeated yet again. And then I can delete all the previous surfaces, the four surfaces, and just keep the new surface, which is just the connection of the four surfaces. So this is a NURBS, a single NURBS surface now, whereas it was four or five surfaces before. Now we want to rebuild that because it looks a little bit too overloaded with ISO palms. The rebuilt menu in the surface is menu. When you reset the settings four by four, it looks quite okay and that's really, really simple now it's four by four spans. It's a very, very simple NURBS surface for by 10. Looks a little bit more delicate. And you need to choose, do compromise, whatever you like. But in any case, this leg is much, much leaner bitwise and for rendering, then the polygon seven by ten looks good because in the nerves world it's always good to an inner point gone world actually to have sort of square segments. In the nerves world they're called nurbs patches. In the polygon world they are called phases. And now you can see we can move the leg back to the cat or the cat forward to the leg. And it matches perfectly. In order to show you how to connect this lake to the rest of the body, I just quickly model the torso of the cat with a NURBS sphere for connecting these two surfaces, which won't create a single surface, but it will create a third surface, which is the connection part. I need to make one surface penetrating the other. Because I'm using the surface, fill it. Now. The fill it makes a smooth trends transition between the two surfaces and the surfaces surface fill it and the circular fill it. Here it is. It looks black so it can reverse the direction of that surface. And in the attribute editor them several ways to manipulate this to make the two radiuses, one at the, at the leg and one at the torso. But keep in mind, it's an extra surface. And the polygon world, you could do such a thing with a single surface. There are other types of fillets. The circular one is ideal for this because we have around a circular shape. A lake is circular. Most cases, you will use nurbs modeling for elegant modelling, and then finally convert everything back to the polygon object. And here you see the flexibility of the fill it. I created two surfaces. The bottom one is made of two curves. It's a loft, and actually I animated it with a deformer. And the top one is a scaled, slightly scaled down and up cylinder. And they penetrate each other so I can create a fill it, which is their connection. And maya tries to fulfill that task to create a village, even if the two surfaces don't completely. Your task for the last session in this course for number 12 is to create a pair of glasses. Why a pair of glasses? Because he can use the Fill it for this very nicely. For the bridge which is above the nodes between the two lens part. The pair of glasses consists of five parts basically. And I wish you good luck with creating fillets. See you next time. Bye bye.
13. A pair of glasses and the universe of Maya and NURBS: Startups modelling. Today S with Autodesk. Maya. Welcome to this class. And so glassy Cloud. It's about NURBS modeling with curves and surfaces of butane that so the kings and queens of industrial design, industrial design. Wow, no cell phone design without nerves. So sit down, relax and enjoy this course. Now. Folks, this is session number 12 in the 12th power series about NURBS modeling. And the homework for this section was to model a pair of glasses. These are not complete. As you can see, we have the crucial surface here, which is a fill it and it's missing here. Let's briefly render this. I have a light in the scene and a plane with a structure. And in the background you see that some kind of BlueSky is working. It is not really important. You have these nice reflections here. The blue is like a little bit boring, just a basic color. And while we move our camera here on oldest rendering all the time, like updating the viewport is we would call it rendering viewport. So we have this nice man shot here and we see that it's actually working nicely. And when color this in the same blue as the rest of the classes, this will be just looking perfect. But how do we go about it with this side? Let's just try it out. It's, this, by the way, is a very simple cylinder with GI, just bend a little bit. I select this surface and the other one I think the sequence is, doesn't matter here. Then I go to surfaces and I go to the surface, fill it and I use the circular fillets. It's a round fill it which we need. That's why we use the circular fill it. Which looks quite drastic. And don't get frustrated when you start working with the fill it, it needs tuning. Here in this section in the attribute editor, it has that strange name, RBF. And we need to play with the primary and secondary radius. So let's bring both them down. And you see, all of a sudden this works quite nicely. So let us color this in blue and the fill it as well. And now you see that everything is fixed. I want to tell you a couple of things about this scene which don't really have to do with nurbs modeling, but with things which are built deep into Maya. The first thing is how do I get this grid? Here? It is a NURBS plane, as you can see here. And a very simple one with one patch new and one in V. That means there are no intersections. So the lines you see here, a texture and not geometry actually, when you go to the AI standard surface shader here, you see that the color has something different from all the others. No checkerboard. So when you click here, you see what is happening here. And do you see that I have a grid. Now, the line color, this one is white. When I change this to black, the disappears because the rest is black. I could change the inner part to read, for example. And I could even. And here I'll show you how to achieve how to introduce such a material or texture. I click on the checkerboard because I, I'm sort of not happy with that red maybe. So I click here. Then the Create render node window opens. And here I can choose from different files, basically structures. And one is the ramp. Now we have a ramp going from dark to bright over here. And now I change this from black to the red which we had before. And then I have a nice flow from a deep red, maybe a little bit darker, to a white. When you go to that grid, you have a place 2D texture here, which tells us something about how to place these gridlines. And I have changed the repetition in UV from four. I think it's four by four or one-by-one to eight by eight. If we change this from eight to 20, we have a much denser pattern in this direction. And when I do this on the same, on the other side, so it's a 20 by 16. I get this kind of grid. And I can introduce some noise. Be careful with the values because it does quite a drastic job here. So this is 0.1 in the u direction, and I do the same in the y direction. So I get this kind of pattern. The endless possibilities you can create bumps so the white part stick out, et cetera. But that has nothing to do with nurbs modeling. Something else. In this scene, which is, which I mentioned few tutorials earlier, is the pivot. When you close that pair of glasses. You would rotated and the rotation in NY, which is the up axis, would go like this. And of course, this is not what you want to do. So you need to move the pivot, which is currently in the center of that part of the glasses to the front part here. In order to do this, I go back to the viewport method because it doesn't flicker that much. And I go to the top window, which is this one. Because here I can see things in a precise way. I present hold the key d. And then when I press and hold it, it changes to this circular structure here. Now when I move this handle down, the object does not move, but the pivot does. And I do the same with this part here. Press D, hold D and move it over here. Done. Now, when I rotated, it rotates like this. And that's exactly what I wanted to have. So that's something about the pivot. And this camera is the camera which I animated as you can see. And for animation of cameras, This is very tricky, can be very satisfying as well. You can use curves, actually NURBS curves, but that's for another tutorial session in the future. So here's my camera. It has a goal. So it looks always at this part here. And no matter where I move that, that camera. But we currently look into through a different camera, which is the standard perspective camera. And here in the outliner I have two nerves, spheres which are hidden. So let me unhide them. But before I unhide them, I go back to this rendering mode. Let's get a little bit closer. And now unhide these two surfaces. And as you can see, they are the glasses of the glasses. I right mouse-click. Want to see the attributes. I go to color. I have that place 2D texture here with the noise. And I do the noise. Just delete the noise function here. And now you see that the reflection is working. Here. You have this bend in the rectangular structure like here. But how does this work? Well, it's a lens, it's a it's a NURBS sphere actually which I squeezed. Normally it would be like this. It has, we now have a lens bubble rather than a real satisfying lens. So I just squeeze it back there. And here you see a shader. The standard shader for this lens is class in the presets you see glass and just change the specular color just a little bit of the class. But the interesting point here is the IOR, the index of refraction. And let me select this. That means I still work with that class, but I'm selecting the shader. I do this because I don't want to see the glass selected here. When I raise this to 1.8, I get a much higher refraction. This also in rendering effects the reflection on the ground actually. So this line gets bent all over because of that lens. And when I move the camera over here, I see the effect even more drastic. Now you have this part here, which comes from, I don't know, probably from this part here. So let us reduce the IOR and you see how the lens is going back to normal. 1 is air. So no refraction at all. And now I go to less than one numbers and I have a different effect. Magnifying and quite drastic. Nurbs modeling is just a small part in Maya also, traditionally, it was one of the founding parts of Maya. And there's a piece of software called alias, which is used in auto design, automobile design, and industrial design quite a lot. It's, maybe it's the industry standard. And the NURBS modeling tools where basically the same in areas and in Maya. And they have a long tradition. You can do so many things. For example, emit particles from NURBS, curves, paint, grass, flowers, and trees are NURBS surfaces. You can use all kinds of rigid and soft body dynamics to animate things or to default thing. What so-called nucleus quote in Maya, with cloth It's called n cloth, in that case, liquid steam and more sophisticated particles you need to convert the NURBS surfaces to polygons that are described in lesson number 11. The module mesh can make use of NURBS surfaces and curves. Here, for example, are 2500 NURBS surfaces using the mesh signaling function. Nub surfaces can be used with skeletons, and that's a very important thing in character animation. The skeleton world in Maya can be found under Reagan tried to mix several techniques like deformation projection and rendering. Everything you learned in this course. Any made your camera to look at the geometry from different. Often random modelling produces exciting results. And when you do a high resolution rendering, you'll often discover things which you didn't see in the viewport. Sooner or later, you find your own way of modelling the structures you have in mind. And there's, in most cases it's not a single approach to modelling something. They always several approaches. And we have our special tastes. So develop your special taste. Having finished this course, you should be able not to begin modelling with NURBS surfaces, but you can design anything you like, you have enough knowledge. Now, I run a YouTube channel with a few 100 tutorials about all kinds of things in Maya. They're not focusing on nerves, but basically cover all elements and each of this extremely versatile piece of software. And with a student edition, you can do everything I demonstrated here. If you use these skills for professional purposes to try a subscription as a monthly subscription for Maya, for example, and peace.
Maximilian Schönherr, 3D Tutor, Musician, Journalist
