Introduction To Autodesk Maya for Beginners

1. Trailer: Hi, I'm **** CPU and I'm a freelance artist based in London. In this class, we'll learn the basics of Maya's interface, including modeling and texturing. Which I know sounds like a lot for your first beginners clause. But you've got me given air out further because there's quizzes a foot. Let's go. 3. Adding a Reference: Now let's add our front image. In the front panel. Go to View image plane, important image. Before we import our image, let's make it easy for us to go back to our folder. Find the folder where you want to go back to and click and drag it over to the side. Now it's in our favorite bar. But I digress there, find your front image and add a wonderful. Now let's add the side image to the side viewport. Go to View, image plane. Important Image. Perfect. In any viewport, click and drag over your objects to change the scale. Press R or the button over there. Why does the height x does the width, does the depth, and the middle, does it all. Now change the scale to fit what you'd like? Now let's move it. Press W or the key over there. Click and drag on the arrow of your choice to move the image in that direction. This line is what we consider the floor. Let's try to get our macaroons to sit directly on top of that. Wonderful. Now it's in the right place. Let's move them apart. Click on any image you'd like, and now moves your image backwards so we can have a bit of space in the middle. Do this to the other side, too. Wonderful. In your outliner you can see all the objects in the scene. Let's rename our objects. Cool them something. Good job. 4. Know your shapes: This brief intermission will help with everything that you model from now on. Everything in life is made of three basic geometric shapes. The ones you've encountered as a baby. So this means we only have to work on objects basic shape in order to create it. Okay, here's your test. What are the three basic shapes? Could this possibly be? That's right. It's a square, is just flattened and elongated. Very nice. Okay. Here's your next one. Which of the three basic shapes? This one b. Yeah, that's right. This one's just a cylinder, both parts. The cylinder is actually alright. Fed. Watch it. Could this possibly be perfect? It is indeed just a sphere, just a circle. Here you see her. You'll find that a lot of the more complicated shapes or jest, multiple basic shapes stuck together. Okay, So let me give you a true test. Once about this. Let's work out the first shape first. What shape could the main part of the body B. What shape is this? What shape is the main part of the body? That's right. It is a square. It's not circular. It's not rectangular. It's got some good edges on it. Definitely a square. Okay, second shape. What shape is this? That's right. It is a cylinder. The reason why we go for a cylinder instead of a sphere. A sphere doesn't have any edges. But if we take a look further into the base of this, we've got some edges. It's kinda hard, kinda goes in with some surrounding edges. It's not really rounded and it's flats, more importantly at the top. Therefore, this is a square and a cylinder on top. Nice work. 5. Creating your own shelf: Creating shells is very useful for accessing tools quickly. You can also customize them with images. If you want to. Click this icon. New shelf, call it something. How clean? To add tools? First, find one. Let's grab something you'll be using forever. Edit, delete by type, history, hold Control and Shift and left mouse button click. Let's add two more. Let's add freeze, transform and center pivot to move a shortcuts location, middle mouse button and drag to change text or image. Right mouse button. Go to Edit. Shelves. Change the icon here. Change the name here. How lovely time. A plus. 6. What you need to understand about Turnarounds: Say there's one thing that I wanted to make you aware of. You'll find that when you make turnarounds or if you use somebody else's, It's not always accounting for 3D space. You might find that the front and the side look the same in a drawing. But it's impossible in 3D space. They can't both be the same. It just doesn't work out that way. So eventually, you won't need to put a turnaround inside of Maya. Take it more as a reference for what it's supposed to look like. We'll be able to work with one that we've got, but you'll find that with the one that we're using. But it's a good way to help you grow because most of the time drawings will not match up. So you've got this. 7. Modelling bottom part 1: Let's add a few more things to your tray before we begin. Head to Edit Mesh and add extrude. Now had to mesh tools and add multi cut. And the Insert Edge Loop tool. The offset edge loop tool. And finally, in mesh display, ad soften the edge. Let's identify this shape. It's not square. The circles bottom is two rounded. So this must be a cylinder. Create Polygon Primitives. Cylinder. Move it into space, change the size with scale, and we've move, pull it up higher if you want to see through your model so you can see the reference in the back. Just click the X-ray button in any panel that you're in, that's this one right here. Attention. Every object has inputs. They allow you to edit shapes before you deform them. Let's play around with here a little bit. Hold right mouse button and drag. Let's make ours even so the symmetry, it will be easier. You can tell it's even because the line goes from the top to the bottom, just like the black line here. Let's take off the cap. Select the caps, middle mouse and drag. Lovely. Let's select our face, right mouse button. Select face. And with the move, we're just going to move the top down. Now it almost looks like it's in league with this top bit here. Now, it's time to make this a little bit more rounded. Let's grab the bottom half of the macaroons, drag it up. Just before it changes shape. We're going to change our scale. Drag it in just a little bit to sort of matches the outline perfect. In our tab, in our Skillshare tray at the top, we're going to select Extrude. Select the blue box at the bottom. Now we can click and drag the blue box in the middle, drag it in a little bit, and pull it down. There we go, starting to match our image. Rinse and repeat two. It's the same size all the way around. Now, if you've been working on your shape hasn't come out exactly how you wanted. That's okay. All we have to do is right mouse button, select Edge, double-tap, be edge. Select our scale. A manually drag it out. Let's do the same to the others. There we go. Much more rounded. Lovely. We shouldn't have open-ended polygons like this. To solve it. Let's go to our slice tool. And I'll Skillshare tab. Click and drag from the top to the bottom. Let's make this as even as possible. We want it to be a four-sided shape. So it doesn't really matter how you do it. But try to make it as symmetrical as possible. That way if we have to cut it, it will be perfect symmetry. The top doesn't fully seem rounded yet, so let's work on that now. Right? Mouse buttons, vector n vertices. Let's all of them by clicking and dragging over the top. We'll select our scale. And we're just going to pull it in to the most dramatic point. Now what we're going to do is add some edges to fill this out. So let's go back up to our toolbar at the top. Select our Insert Edge tool. I'm going to click. Now we have a new line. We're going to double-click it and scale it out. Rinse and repeat till you're happy. I'm pulling this little bit in here because it's in the picture. So we'll make it in announce to k. Three stars. 8. Modelling bottom part 2 : Before we continue with the top, Let's clean up our workspace. Freeze transforms, center pivot and history. Now, I know this is dipped and we will make calls get to later. But for the sake of ease, let's focus on what it's gonna look like without it being that, I'd like you to select your face at the top. We're going to extrude it. Click the blue button, then click the next blue box, drag it in. Drag in a little bit of a ways. And then we're going to do it again and push it down. This insight bit is not going to be seen. So we can delete this face inside here. Now it's all hello. This does look a little bit rough though. So let's click our button. Go to our softened edge that we've added to our Skillshare tab. Give it a quick. There we go. The next thing that we have to do is collect some sort of frilly thing to the top. We can do this multiple ways. But I'm going to show you this way. First, clean it up. What we're going to do is make another object and just make that one Details. This can be nice and clean. So it creates polygon cylinder. We're going to make it the same subdivisions that we have before. Ours was at 12. Just so we can make sure it's in the right place. Let's make it a little bit smaller. Let's drag them in a little bit and we just want to try to get them semi flush. I'm going to do it in this tab over here because I need to see, or I'd like to see with a wireframe is let's turn this on for the wireframe. Let's move this into position. Okay. Let's take off the caps. I'm just going to make this an isolated layer by clicking this object. We're gonna get rid of the bottom here because no one's going to see it. And let's turn it back on. There we go. I want this to come down lower. We're going to hold D, hold v. I'm going to drag down to the bottom of our particular object here. Now our anchors in a different place. So that means wherever removed from its going to do it from that anchor. We're going to go to our scale tool and bring it down just a little bit. We're pulling it inside of it just a tiny bit. Because once we add our shader, you won't be able to tell the difference. Now before, before we go too far with this, I'm adding on a few more subdivisions. We're going to extrude the top and again, select the face at the top, extrude, Pull it in, repeat, and pull it down. And delete. There we go. Now we've got a little hoop going around the top. Let's clean it up. We can clean up both of them if we so choose select your go-to mesh. Smooth. Because we don't have enough edges currently to make this look as rounded as these bits right here goes you're sculpting tab. Click this tool, that's your grabber tool. And we're going to hold B and drag left, make your selection smaller. Or hold B and drag right to make your selection bigger. Pick the size that is best for you. Before you begin. Got to the top, go to Symmetry, select World x. Now we did one thing to one side, it will do it to the other. And all we have to do is go ahead and make something that looks slightly similar to our turnaround. So we're just clicking and dragging until we get the sort of shape that we want. And if you want to make anything asymmetrical, because obviously this is gonna be completely symmetrical by the end of this. Or you have to do is turn off the symmetry at the top and then do any other tweaks you like. But I advise that you do this after you've made everything symmetrical. Once you make something asymmetrical, it's very difficult to get the cemetery working again, so it will make it easier for ourselves to start, change it later. So just click and drag until it looks kind of rounded. Very nice. If you want to add your asymmetrical piece, you can do so. Now, let's say we can grab one of these, grab a big chunk and just send it into an other direction. Make it seem like somebody actually made this rubber computed it. There we go. Nice time. Yeah. 9. Modelling The Cream Middle: Time to do the centerpiece. The shape seems like a cylinder. So let's grab that. Now we've got three ways to see our new shape easier. Either select the other shapes and turn the visibility off. All with both selected. Make a layer group. Click here to hide it. T for transparent wireframe is a reference, but we don't need that. Also let the wireframe option or X-ray. Let's remove the caps. Make it be in line with the lower cream. Select vertex and move the lower section up. Pull the upper part down. Select our split edge tool and our Skillshare tab at the top. And let's make some lines to help us make this shape rounder. Major points can be easier to work from with the line selected. Scale it to fit. I think I'll put one more above and one below. We'll tap a line and scale it again. Keep going until you're happy. If double tapping doesn't work, click and drag. Then hold Control and drag over anything you need to remove. Erase the top and bottom phases. We won't need that. They worry there's a reason why we're not doing the other part of the cream yet. Remember, we're working smarter, not harder. Quiz time. Easy. 10. UV and Completing The Base: We have to UV creation, otherwise we can't add a texture to it. Select your bottom mesh into the UV tab. At the UV editor TO Skillshare tab. Now, planner. Select the UV editor. Here's our objects. Let's make this flat. Modify unfold to add, unfold to a tab, select view, custom shelf, then add it in the same way we do the others. To select the UVs. Hold right mouse button and click UVs. You can either double-click the mesh or click and drag. Sometimes you may need to slice the UV in order to get it flat. If that's the case, had to Tools and select the Cut tool. When it's selected, you can click and drag and re unfold to make it flattened even more. We'll have to do that to the cherry. All while in the viewport. Select the edges that you want to cut. Hold shift to select multiple edges. Had to cut and sew. And select cut. That's a much cleaner way to cut something. Be sure to add these to your toolbar for later use, right, let's continue modifying the size of your UV. Rinse and repeat. We should aim to keep our work in this square. Let's select both of the other meshes at the same time. And plan are those together? We can shift select the other mesh so we can see them all on the screen. Double-tap the mesh you want to unfold and unfolded. Do the same to all of them. The bigger the UV, the CRISPR, the texture. So make big what seemed the moose. Here comes the working smarter part. Select all of your messages. Control D for duplicate, Control, G for group. Now we have a group. We have Translate enabled, hold D and hold V. And let's snap the anchor to the very top of the cream puff. Now in the channel box in scale, why do minus one? Love? How quick was that? If our texture was the same all around, we could leave the UVs on top of each other. But I'll turn around, shows that the texture is different from top to bottom. So let's move the duplicated UVs. Hold right mouse button, select UVs, select all, and move them slightly. Now, if we select all of our meshes, we can see every UV on the screen together with a UV mode enabled, double-tap a UV. Now we can move it to fit. Fantastic. Let's go back to our outliner. Let's open the group. Select every mesh that's inside shift and P. Now I can delete the group and clean it up. Overwrites. Quiz time. Good job. 11. Creampuff Simple Version: As with everything, there's multiple ways to do this. Here's one way to do this. Select the tourists, create polygon, then Torres. Ten symmetry on object X or weld x. Moved the tourists to the top of the shell. It's okay if half of it is sticking inside the top shell. In edge mode, select every other vertical edge and scale it out. You might need to move it a little too. Once done, remove symmetry mode. In vertex mode, quickest spot inside, maybe slightly near the top. Hold shift, and double-click the vertex next to it. Now you select the whole row. If you press B to enter soft mode, you can hold B and drag your mouse to indicate how much of it influence you want. I'm going to scale in the middle. I'm going to continue to suck in the top while making the lower half plumper. That will give me that nice scooped effect. And flatten the top a bit by holding the green square. While in scale mood, I'm going to drag it down. Keep going until you get that nice dollar P SKU. Perfect. Great, Looking good. With symmetry back on. You're going to be flicking between symmetry on and off a lot. Go to Mesh tools, offset, edge tool, click the center line and drag release to make your choice. Now, you can select the rows that you've newly made and scale them. Owls, pull them out to you. You've noticed it looks a bit more dollar P. Perfect, That's exactly what we want. We're going to continue this all the way around the cream puff. You may have noticed that I tend to turn off the symmetry when I am selecting a row. That's because my center pivot changes. It's easier to pull everything in from the center. But if symmetries on, when I tried to select the whole row, it moves the center, and that's not where I want to scale in or mu from Azure going and adding your edits, you can make the bottom more clumpy. You can pull in the top a little bit more. You can add dense in the top as well if you like. Don't worry about trying to make your cream puff look exactly the same as the one in the example. It is all about your creative vision. And your creative vision is something I can't wait to see. Right now. Rinse and repeat until you're satisfied. I think I'm okay with this. So we'll leave that like that for now. Symmetry off. Select face mode. Select the inside ring of faces. That's clicking one square, then double-clicking the square right next to it while holding Shift. Now I'd like you to hold Shift and the greater key to increase the row amount. To reduce the row amount, we just click the less than. Remember the parts of the model that's important are the parts that can be seen. If it can't be seen, get rid of it. Now, delete. It's time to UV or mesh. Don't forget to put it in an empty space. Doesn't really matter where it goes. You can always rearrange your UVs at any point. It doesn't need to look like mine. If you feel fancy, select the bottom row of the cream and rotate it slightly devastating to the top in the opposite direction. So we'll do the more detailed version next. You don't have to do the more detailed version, but if you want to know how I will show you that quiz done, That's amazing. 12. Creampuff Detailed Version: As with everything, there's multiple ways to do this. So this time, let's do it individually, make a torus and put it in place. This shall be our reference. Hide the macro room base, grab a cube, Create Polygon cube, place it over an area of the path in the template. Select the Insert Edge Tool. Width ways and length wave. I'll include a center line to select the outer edges. Now, go to Edit Mesh and bevel or by Val, as I liked the perfect. It's rounded on edges. The vertices are two forward. Now it's no longer flat. I'm molding with the idea of trying to make it a bit more dollar P. I'm going to go back to the front of the template to give my dollar a bit more of a natural feel. If it's not going to be seen, make sure you delete it. Where to duplicate this and use it for the rest. But we're working smarter, not harder. So let's prepare the UV first. All the duplicate UVs will be in the same position. So we'll have to move the individual UVs while we work. Create NURBS primitive, circle. Move it to fit your tourists reference. Now it's the fun part. Select your cream, shift, select the curve and parents by pressing P. Now, anywhere you rotate the circle, the cream Mofolo. Duplicate the cream and unpaired enters that shift NP, move the circle, edit your new selection. Move the UV, duplicate it, and I'm parented. So now the copy doesn't move, rinse and repeat. You can duplicate the current row of paths, parent them to the circle, and move it all around until it's filled. Then you can tweak as I liked the individual approach is it gives me more control. So I'll go back to doing that. To help speed this along. I'm just going to duplicate the other half rather than going all the way around. Once we think we've got the system going, we can absolutely remove our reference as we don't need it anymore. And we can move on cream puffs up to actually sit on top of our macaroons. I'm just removing the duplicated side I just made as I'm still tweaking it. This way, we can make sure that the dollop actually sits where it's supposed to sit. I'm going to keep editing and moving around. From here, we'll be able to use techniques that we've learned in the previous lessons. So that includes the symmetry tool, the soft tool, enlarge, running and moving certain pieces. Anything to get the feel of what you need. Don't forget to do the UVs while you work. I've also decided to combine it. To do that, go to Mesh. Combine. This is going to merge all of the meshes into one mesh though. So make sure you've edited your UVs first. Just like in our last one. Let me rotate the top of this and rotate the bottom. Give it that nice kind of twisty dollar. Perfect. Perfect. You've done so well. Next we'll make the cherry. 13. Cherry Creation: The basic shape of this cherry is a circle. So let's grab a sphere, resize it. In the inputs low the division a bit. We don't need all that. Fungus is, even it will be alright. Now let's make it select the center vertices and two soft mode and pushed downwards will routinely make the section bigger depicted in the center until it looks the way we want. Now it's got the little dimple in the middle after Jerry. We can dip the outer edges to make it look more hot like there we go and pull up the sides. We could absolutely turn on symmetry. But I've gotten kind of old school with this one. And using the scale tool, drag that out. Let's UV it while we're here. And as always, removing any faces that aren't going to be seen. It also makes your model much simpler as a whole. Now, for the stem, the collision shape we have is a cylinder. So let's grab a cylinder and resize it to make it fit. We can narrow the sub-divide if need be, which I think I will. I'm also going to remove the cap. We don't need that. Let's also remove this whole tube. Consistency. Then let's pull it to the side. I think I'm going to do this via faces and probably with a softball again. Okay, here we go. With the face selected. We'll hit the extrude tool and just pull up and follow along with our reference. All to do with a false way, we'll just hold, shift and drag upward on the arrow. This way we're still extruding, but it's a shortcut. Didn't really have time to keep going all the way up. Clicking a button. Fantastic. Let's go back into perspective mode and extrude the top one more time. However, we're going to drag on square this time just to make it extrude in on itself. Now let's make this a even shape. It's good practice to try to keep things as square as possible or as even as possible. We're using the splice tool for this nice work. Now, let's UV this as well, because this doesn't unfold flat, we have to scrap an edge and cut it in the UV. You must do the same to the Cherry as well. Remember, flat is always correct and select everything. Now we can see where everything is. It makes it easier for us to put on new UVs in place. If at any point you feel you need to make the cherry fit better, by the way, you can adjust the cream to give it more of a seat. I've just gone into the layer on the side, connected the cherry to the layer selected templates. So I can still see the Cherry as a wireframe, but it helps me to move the cream a little bit easier because now I can actually see where it is. There we go. Wonderful. Perfect. Cherry done. You sign to get the hang of this. All you. 14. Flower Creation: We're almost done. You've done so well so far. Now we need to make one flower will duplicate the one we use as we're working smarter, not harder. Assessed shape. A petal is similar to a square. So grab your cube a plane. Let's place it over the front of our template and screens in that basic shape to make the petal fit inside it. Just like this rebel Slice Tool and drag from outside of the box to the other end. This way it will cut through the entire box, not just a single phase. Let's do this horizontally too. And as we go routinely pulling the vertices we make to fully give us the shape we need. Nice. Squeeze the scaling so it's a bit more flat. Depth wise. Check it from another angle and give it that curved petal look. When doing things based off of real objects, look at them in real life, it will help your designs and creations. If you wanted to, you could totally add a insert edge loop around this blank part that we've not filled in and extrude that out if you want it to be a bit smoother. But you don't have to. While you're doing this kind of thing, it will be quite therapeutic. You'll find now prepare it for UV Cutoff bits not seen. Now, important note, if we want the petals to use the same petal texture, we won't separate, they're UV. But again, I do like the detail, so I'm going to separate my petals that will allow me to make sure that the one that should be unique is unique. Let's say you had three of them that was supposed to look the same and only to look different. You can totally leave the three UVs on top of each other and just move away the ones that need to be separate. Let's duplicate our peace and rotate it to match the reference. We can move the anchor of our singular petal by holding down the D key and just move it to the bottom. It makes it way easier to rotate, because now we're going to rotate it a duplicate from the bottom point rather than the middle. Tweak and edit as you go, you can certainly choose not to change every petal. That's perfectly fine. I like to do detail though. I really liked detail. So I'm going to change all the ones on this side. But once we duplicate it, I'll probably leave them alone. I want to scale in the bottom of the petals as well. It kind of gives it a better shape and it hides it better for when we get the little pollen circular bit in. Right? Now it fits way better. Now, let's make this look even more dynamic and rotate certain petals forward. Now this has stopped it from looking flat all the way around. Then forget we're working in 3D. Three, gotta look at it from every angle. Consider, everything. Looks perfect. Now to finish it off, let's make it center. It's clearly a circular shape. So grab a sphere, put it in place, lower the sub-divide, and remove the half That's not seen. While we're here. Actually, let me just turn back on the, let me just turn back on the rest of our model. Let's group all of our flower petals to make it easier to move. It's not technically in place right now, so I'm just going to move it forward. Try to get it on top or in a nice place to rest upon the macaroons. There are some things for you to keep in mind while you're modelling. Some things are going to have to cheat a little bit. If you're trying to make it look exactly like the picture, which will be impossible because the perspective isn't the same on both of the reference pieces. You can edit your piece to make it fit better. So for instance, this flower that's on the right-hand side for me to make it sit while still being in the front. I can have it float off of the macro room. Because obviously if we tilt it down, it's gonna go halfway through. You can absolutely allow it to go halfway through the other part of your mesh and just go into your petal that's peeking in, grab the vertices and pull it out. But I don't think I'm gonna do that. I'm going to find a way to do this. I like it so far. The smarter half, we're going to duplicate it. So let's grab our flower group, group. Control D. Don't forget to group is just control in G. Then minus one in scale x. It's going to flip to the other side when you're done. Ungroup. Now we can move it, put it wherever you want. I'm happy with this. Nice. And all of their UVs are in the same place. So actually we could totally do this at the end, but I didn't. So what I'm gonna do is probably select all of the flower petals and just move them together. Yeah, because they're all going to be on top of each other. So the duplicate is going to have the same UVs as the other ones. Which is cool by me really, as long as we select all of the flowers, it'll be fine. Otherwise you can just UV. Oh, we forgot to. Hold on. Let me let's make sure we actually UV these before we get ahead of ourselves. Don't forget to uv your circular part as well, which I totally forgot to do. I've just done it now because this is just gonna be one shade. It's not even, it's just one lump of color is not much happening. We can make it quite small. The petals are kind of important. I will just to change the scale. Nice. I'm clicking and dragging to make sure I select both of the UVs because we did duplicate it before. We did the UVs this time around. Gay, I think they're overlapping each other. So that'll be okay. Lovely. We've got so much space. We can absolutely make this bigger if we wanted. If you do want to make it bigger, you totally can. Now our UV is set, our meshes are set, and we're actually ready to texture, which is super-duper fun. I'll see you in the next lesson. Quiz time. 15. Texturing The Macaroon: You made it. Now it's time for fun with color. Firstly, it's time to combine things. I combine things that we'll use the same color. It makes it easier to reuse pains. So head to Mesh, add combined to your bar. The macro ruin will use the same color. So shift select everything related to the shell and combine rename as you go if you'd like. The cherry uses two different colors. So I won't combine it for the moment. The flower petals use the same color, so they're going to be combined. It can bound. The dot in the middle is a different shade. So I'll combine both dots together, but I won't combine them to the flower. If you didn't want to be super exact, you could paint one flower set and just duplicate it over. The choice is totally yours. The inner cream has different colors so they don't get connected either. I like to color code items to identify things. So let's do that. Click and mesh, Right-click and hold. Assign new material. Lambert is opened our attribute editor. If it doesn't open onto the shader, immediately, click through with the arrows till you see a tab that says lambda two. Lambda one, by the way, is the default gray shader that's on all objects when you open Maya, renamed the shader to what it's being used for. This is a cherry, so I'll call it charity shader. Turn the ambient color all the way up. They'll fuse all the way down. This gives us a flat color. Makes it easier to make 3D objects look to D. On the color line, click the square, click the Eyedropper tool and select the part you're working on in the reference. Now. Let's do the same with the others. So the perk of doing this is we can see what objects are easily. It tells us which ones are sharing the same shader. It and anything that share the same shader are combined. When we save our work, the textures will be separated into the shaders we've now made. Which means if you want to or you need to merge the textures together in a photo editing program. You can do that later, which we will look at when we get there. It's very useful to have things separated first just in case you have to do any extra tweaking or texturing later. Perfect. Now that we're done with that, it's time to get ourselves ready to paint. Go to the dropdown box on the far left. Select rendering. Now select the texturing tab and click these dots, Jess below the word texturing. This will make it pop out. Makes it easy for us to re-select what we need. Because if we do it once and then we have to go back into paint, it tends to disappear, and then it's not very convenient. Lovely. Now, unfortunately, Myers color picking isn't exact, so we have to tweak it to get the same colors. So let's first click our reference image. You can totally duplicate it to have the original somewhere. Or if you download pure ref, you can have it floating like I do in the left corner right now. The duplicate that you've made or of your F, Go to your attribute, locate the color space, and select a roar. Perfect, It's changed the color. But this color is actually what the color is. That's the only way that Maya's going to acknowledge the real colors. Which is why it's helpful that you've got a duplicated ref. Now back to our cherry. Go to the 3D paint tool and click the box. Now head over to assign edit textures. Pick a size you want, pick a format, and then assign in flood. Quick for color square. Eye dropper, hover over the bit you want. Now, you can click the flood button. There we go. We've got our base. And let's do the same again, but in the color square. And pick another color that we want to start painting with. It could be easier to do this with a pen tablet. But the choice is yours. You don't necessarily have to. You can use different blend modes. Change your brushes, hardness, load in and alpha you've made or select one that's pre-existing using the photo on the right here. If you have something you'd like to use symmetry on. Scroll to stroke, select reflection, and pick your axis. Now you're coloring skills going to come down to how much coloring you've done before this. But each time you do these, you get better and better. If your model is great, right now, press the number six to turn the texture on. It just means there is a texture available, but you're on the wrong tab. Important note, while we're doing this, maya will only bake our texture if we save, save often. Trust me, I have been caught out far too many times where I painted. For a long time. It crashed and there was no evidence. As we're painting, you might notice some seam lines. So that's where the color looks like it's dividing. Which is why it's really important to choose where you're going to cut a character. Usually, when you UV something, you try to make the seam line goes. Some people won't normally look just in case it should look good anyway, which is why we'll normally expand our color. I'm bigger than the actual UV. That way, if there's a bleed in the scene, it will see more of the color rather than whatever is behind it. The cherry I realize is actually tilted forward, or at least it is in the front panel. When I'm doing a 3D transcription of something, I tend to recreate the camera angle. And I'll normally just work in that camera angle. And then after that, because we have to consider it is 3D, we have to think about what can't be seen in that 2D image. So once I've got, maybe I've done the first half of whatever we're working on. Let's say the cherry that we're doing right now. Later on now leave the front camera view and I'll go to the perspective view, take a look around and make sure the back looks good too. Yeah, So far, so good. So we've got the cherry rotate it to match the front view. I'm looking primarily between the pure ref, reference image that I've got here. I've got it to a place that I'm happy enough with. So I'll just move on to the next bit and it's kind of this until you're done. It's just rinse and repeat. You'll look at your reference image. You'll do a little bit your flick between brushes. You'll change between your opacities. And it continues like this until you are done. To make this bit easier for me to see because I'm trying to make this look like the front view. What I'm going to do is go to my front view panel, click Panels and go to tear off copy. So now I've got a separate version of my front view, which is really useful for me because now I can see it up big. Just going to reopen my Texture tool. You'll notice that depending on which camera you select your item in, is the one where the outline is going to disappear. I'm not sure why it works like that, but hey, whoa, I actually need to see it without the outlines on this one. So I'm going to click the front view quick my 3D paint again so we can go straight back in. But this is really handy because now I can see this up close while being able to rotate around the back of it and do what I need to do. Now that the cherries in the correct shape, I think I'm probably going to edit the mesh a little bit because it looks way more heart-shaped than what I have here, especially because we've rotated it. So while you're going or while you're painting, you might notice some things that you didn't notice before because you didn't have any cornerstones. Sometimes the more you fill things in, the more cornerstones you have, which makes it a lot easier to recreate the image better. Now onto the next one. Same again, assign edit textures, pick the same stuff. The canoe floods, and flood it. And then probably need to zoom in a little bit to help yourself. Pick a new color. Seems semi the same, so I'm just going to change my floods of a lighter color. And use the darker color for the color. Next. Let's do the cream. Let's start by just going down from the top. So why not? Okay, Before we move on, let's make sure we save it. Save. Good. If you don't save, it doesn't bake. And if it doesn't bake is like he didn't nothing at all. We can have that. Okay. And the top half. Nice. Now we can flood fast. You've got the new color on the top. Now, if this was even, we could probably turn symmetry on, but I feel like it makes it a little bit more. It feels a little bit more organic when it's not symmetry it up. You might not think it, but humans are able to tell the difference between something that's man-made and something that's computer mode. Now, we went for a little turn on this one. So I'm going to have to eval look up images of cream. But my cream is going to look different from the one in the picture. But we know it's the same sort of thing. There's gonna be a light where the light hits and gonna grab various palettes. No one's really going to see that it's indented. I don't think Let's see. Can you see that that's indented in a bad way? And no, I don't think I won't be able to tell that. Got nice cream van. It doesn't really take that long. But the more complicated the design is, the lumber you're gonna be sitting there for. Let's move on to the next pie. Next, let's do the top of this cream rental, Assign Edit. You're probably used to this now. I don't need to see it from the back yet, so we'll just have a visa. So we know in the main picture there's a shadow underneath. So let's make our own shadow. Don't forget to change the size of the brush is just holding B and dragging. Now absolutely get faster the more you do this. I don't think I can do it from this angle. That does not seem to be how shadows work. So let me just pull this to the side. You got to see it from the perspective. I'm going to make the perspective bigger because I don't really need to see the other stuff. Just this one because I don't use the side and he really used the perspective. And the front. Might need to pretend like that shadows coming from the cherry because that I don't know where the light's coming from. It was never good at lighting. If the cherries leaning forward, we could totally pretend like there's a gigantic shadow from this cherry. Cool. Here we go. I have to go rogue because you don't know what it looks like from the back. This one seems to have it on every little bit. I'm just going to necessarily do this and then I can just go back with the lighter color k. And there's like a ring. I might turn the symmetry on for this, because that's completely the same. You expect it to be good but isn't the right place. Now because we made the bottom trim and the top half of the shell separate and didn't merge them in the end, you can absolutely choose the merge them after if you'd like. It might be tricky for us to get the colors to match. So that is something that you can consider for future. Otherwise you're just going to have to be really careful when you're painting those areas. A little bit bigger. It's I don't think Maya has a good way of lessening how deep the smoothies, You've got a blur intensity. It's kind of like it's only on when it's on. I don't I'm not too sure. They're all speckles. We can actually do those battles. The question is, do we want to, after the initial set is done? It's bound to creative license a little bit. People aren't normally apart from other artists going to look at an art of so you can kind of get away if you want to do some creative license or maybe you're not going to put in that much effort to go to look exactly the same. But whatever you make here will be seen as, oh, this is what it is. I don't normally use other alphas and brushes, so this is very fun. But this is like Photoshop and furniture was first made. Everything's on one layer. You have to get comfortable with doing stuff on one layer and just accepting that if it doesn't come out the way you wanted it to, you just kinda have to paint over it and that's okay. It's okay. We're just going to interpret what could possibly be continuing. What's nice is that because the artist, the front half, you can kind of guess what should be happening on the back. And you've got certain shapes or certain tools that you can use. That'll be similar to what the artist used on the front. So it will look like it comes from the same thing, at least already. It's looking good from basically any angle. Okay, Onto the next bit. Okay, let's move on to the petals. Why not? I seem to have found an order to harm doing that. You don't have to do this in the same order. By the way, however, you work works. We'll get to outlines if you're interested as a bonus at the very end of this course. Because that's the main thing that makes these flowers look so good in my opinion, it's the outline of them. We do actually need to get some of those lines on there. Okay, let me grab this. Dive back in. Just going to draw over the top of that. Even though that doesn't necessarily make sense. On the other view, it makes sense when the front. So it kinda depends on which one you want to prioritize. If you like. We could actually do a outline on this one, which is just checking the darkest color. Going to the side of our petal and filling it in can get messy. You might actually need to have the outline on so you can actually see where your painting. And sometimes it does go through the mesh, not sure why. It's useful every once in a while if you release. Sometimes it does add like this. If we wanted, if we knew exactly what line we want it to be, dark purple. And let's say it's giving us this kind of grief. What we could do is simply go back into our UV, is grabbed by Edge tool, cut along the top of all of our petals, go into our UV and cast it. There we go. So because we have both petals on top of each other, it might be tricky to select them within the UV itself without accidentally selecting the other one. So now that we've cut all of these, you can just select the bottom half, whole control, right mouse button, go to UV shell and move it to the side. And because they're all going to be one color anyway, we could make one a bit bigger, put them all inside the other one because there wouldn't be much color change there. Now just got the underside. I'm doing it on one to give you an example. But if we wanted it on both sides, we would just do the same thing. And I've got these edges selected. Are these faces selected? So it's not going to put this on anywhere other than the places that I want it to go. And now we've got a social fake outline. I think I'm going to do that to this one too. I do like how it's actually turned out. And if we wanted to, instead of doing this again, we could absolutely just delete this, duplicate for it to the other side and then move it into place all over again. So now I've got two of the flowers done by doing one. Nice. All right, let's move on to the cream. The more you do them, it ends up being quite therapeutic. In a way, you'll find yourself going back-and-forth between getting the right capacity. So she didn't really need to worry about the shades. Shades always gonna be right, but the opacity is what will get you. Sometimes you need a lighter shade, sometimes you need a dark shades, sometimes you just need to do it again or allow it to be really strong and come back with your darker color after. Once it's made, no one's going to really know what the reference actually looked like. Apart from the fellow artists that love looking at art, looks like the rest. You'll be able to edit your image in your photo editing software after as well. So no matter what you've done here, you can add upon it if you so choose in your editing program of choice laser. So I can make this look a little bit more varied if I so choose if I were to grab one of these and pull it and change its shape a little bit because they want and our reference isn't fully straight with us, completely done to us. It could either be prim and proper. Oh, perfect. Like or it can have a bit of a very cheap during the show. Oh, I didn't merge these together properly, so I can fix that while we're here. To do that. That's just modelling, tap into Edit Mesh, merge. You can add that to your bar as well if you want to. Save it onto the next one. Okay, Next. You really don't have to be this precious. What you could probably do is fill in the area with the lighter color than in your photo editor. App, speckling afterwards because you'll at least be able to see where it is. Trying to make sure that it stays consistent, but not being too precious at the moment. But it's consistent enough. All right. Nice. Getting faster. Oh, it looks see solid. And lastly, let us do the bottom. Might have to be pretty careful while we're painting because we've seen that it's kinda Chuck's abandon at it. We can isolate the area that we're working on, however, by selecting our face mode, clicking all the faces that you want, double-tap the area, then go into 3D Paint Tool. There we go. Yeah, nice. That way we won't accidentally paint onto something but we don't want to paint onto. There we go. That will prevent us from accidentally painting over the top because we did a good job on the top and we don't want to mess that up. So the only reason why we didn't copy and flip it upside down is because it's got a different pattern going on. Normally the trick is to paint on a surface that looks flat. It starts to bend in a weird way. It will tell the audience that it's not 2D. So trying to make sure that it looks like it hasn't been telling you is key. Alright. We have ourselves a painted Macarena quiz time. 16. Composing Textures and Clean up: Now that we've got it to our liking, we can clean up by merging all our texture images into one file. But before this, we're going to have to make sure that we can actually see where they're supposed to go. Let's select all of our models, open up our UV editor, and click the camera icon. Let's make sure that it's the same size that we picked the texture images to be earlier. And passive play. Now, a mesh and select attributes, select selected shader. Click the box next to color. And if we go up, there's the location. So click on the folder, copy the location string. In our photo editor, open up and paste the location of the name above. Now grab all of your files. After that is just copying, pasting them into one file and making the background black or whatever base color you'd like. And lastly, let's add the UV that we saved earlier. There now we can see what it's all supposed to be. Let's magic one tool on the outside of the UV in select tab, modify. And we're going to select contract. This is what I was talking about with having a bit of bleed to allow the image to see extra image rather than pasting a color that's not supposed to be there, allowing people to see the same. Basically always make sure there's a bit of bleed. Now that the highlight is high lit, we have to do is go through and delete. Now that the initial erasing has been done, we're going to go through each layer and erase the extra bits that aren't supposed to be there. So for example, on this particular piece, clearly the only part that has been textured is this bit right here. So the rest of it isn't needed. So I'm just going to either erase it manually or use my marquee tool, inverse it and delete it. This layer is blocking the cream layer underneath, so I'm going to erase that too. After that, it's rinse and repeat until done. There we go. Nothing's overlapping. What it shouldn't overlap. And I realize I've forgotten the inner part of the flower. So now that we've gone back and gotten its UV, all we have to do is select its color with the eyedropper from my sisters original picture, back onto the texture map. But we're currently making, and we're just going to make a purple Blache where the UV says it's supposed to be, which is right here. Before we finish, let me give you an example about the seam and bleed fixing. So I'll cherry had an issue. If we go into our editor and look at the cherries texture, we can see it fits perfectly within the UV, but that's not what we want. So I'm just going to go and make the color expand beyond the UV layer because it's clearly trying to expand, but it doesn't have the right thing to expand. So we're just going to repeat the image that we see, or maybe get the same color. That way when it's going further, it's going to show what it should show, not what it currently is. Now, what I'm going to do as part of a cleanup is select all of our models, assign a new material, pick a Lambert, and in the color line, select the checker box. And now just grab the texture that we made. Unlike before I turn up the ambient, turned down the diffuse. And you're good to go. As a little bonus or clean up. If we click this blue button in the top right, it shows all of our shaders. Now let's clean up in file, select optimized Save Scene. Now it's all clean. If you wanted to, you could absolutely combine all of your meshes together. But I have one more thing that I want to show you. So I'm going to leave mine unconnected. You can do this with it being connected as well. By the way, if you want to, the choice is yours. See you for the bonus round. 17. Creating Outlines: I'm so happy you want to learn how to do outlines when you must have them. This will probably be today. It will truly take your work to a whole new level. To begin, let's do the cherry in our viewport of choice, select shading, and turn on back culling. This will allow us to see through our outline as it will pair a solid initially. Now in lighting, select two-sided lighting with cherry or mesh selected, duplicate. Now select Extrude and make it thicker. We can now choose to assign a new material and use a surface shader for a flat black color or any color of your choice, or paint our desired outline color on our texture sheet, like I'm going to do right now, just nipping back into the photo editor, I dropping on all of the outlines that I want. I'm probably going to put them nearby. The other things I could totally labeled these if I wanted to, but I wait because I know what they mean. And I'm just going to have different random splotches nearby. They don't really have to be a comprehensible shape. So as we're doing the latter, I'm just going to add my new duplicated mesh into our current Texture Shader and UV it. But put it inside the little color blob that we've made. Now I've chosen to double-click while in UV mode. To make sure I select the outer layer of my shell, there is a way to not have an extra layer to deal with, but that's on my YouTube tutorials instead, underneath picks a fight tips. For this. Now that I've made sure that I've got my outer layer, I'm just going to select the other uv piece that didn't go along with it with the faces, right mouse button, select your faces and important, go back out into the viewport and then delete. Otherwise you just delete the UV, but you don't delete the mesh. This way. When we do the magic, we're not going to have too many extra things inside our model. Head to mesh display and add reverse to your tree. Now click it. We have an outline. Now if we wanted, we can manipulate this further by simply editing the meshes of vertices or faces. And if you want even more, we can add edges to give us an even more dynamic outline that will allow you to make new folds if you overlap them in areas you want the lines to show up. For example, let's use our Insert Edge tool on this center part here. Now grabbed the vertices are a couple of vertices, maybe two or three, and pull them up and pull them down behind the line we've just made or in front. Now we can see the outline. So you can do this all over the model. Once done with your mesh selected. Head to attribute tab, render stats, turn off double-sided. This will make it appear the way it looks in the viewport, in the render. Rendering. This works pretty well in Maya software. We'll get to that for the closing of the tutorial. And you've guessed it, rinse and repeat. At the very end, you can merge everything to keep it nice and tidy if you so choose. Or you could do the outline on the whole objects instead of doing it individually. It depends on how detailed you want to be. So we're still using all the tricks that we've learned from beforehand, just using creative ways to make the outline show how you want it. So for the top of this macro room bit to make sure that I get that nice wiggled effects. All I've done is made an extra Insert Edge Loop and pulled it up and pulled the other side down to make sure that it showed a line. Because I chose not to merge the bottom of the macaron and the top of the frilly bit. There's a potential for the outline to show there. So all I did was grab that surrounding area and use scale to pull it in. I noticed there were some lines in-between the two bits of cream in the middle. So just like before, made an extra loop, will took one that was already existing and made it go within the other one. So we could see the outline kind of gives it more of a unique fill, less mirrored. Then I realized that the center outline is not the same color as the outside. So in order for me to get the color I wanted, I just made sure I selected the faces of the bits that can actually be seen. And our UV them again, because it's split them from our current uv. If we drag it, it might create some issues. So just by using, again, it's made a fresh one and I can drag it into the outline color of my choice. So fundamentally, when outlining, it's the simple tricks that you've already learned, but using them in creative ways to get the result that you want. Nice. Now we've got a outlined 2D styled 3D macaroons. Now we can move on to rendering. 18. Rendering: To render a picture of our deliciousness. Head to the chalkboard up here with a cogwheel and pick your image format. We're also going to fill my mini loop. So in frames that animation select name, pound, sign, EXT, and pick a padding size if you like. Let's change our frame range to 120. For my render cam, Let's go back to our viewport. Click view and create camps on view. Rename it a shot cam so we know exactly which one is the new one. I'm going to show our original viewport. So let me just click panel and select the original perspective cam. Now when we zoom out of our original perspective, can we can actually see the camera for our shotgun, which is pretty useful. It can come in handy for other things, but this isn't the animation tutorial. So with that shot camera selected, hold D, hold x, and drag the marker to the center of the grid. Let's prepare for the optional loop animation. Make sure we're back in the shotgun window with all timeline at the start. Press S, go to the end of your timeline and press S again. Now head somewhere in the center. And back in our viewport. Now will be rotating the camera, hold Alt and click and drag, just to show a little bit more of the model. Once you're happy with it, you can press play. I think I'm happy with this for now. So let's go with this back in our render settings. Let's first make sure that we only have one rendering camera enabled. We only need the shot cam. So let's get rid of anything else that might be in there. Pick a size you like. We can see exactly what the size will show. If we click this button on our viewport. There we go. So if we wanted, we could totally move our object to where we want it to be first and then hit this, which probably what you would do actually. But I'm happy to go for this for now. Now let's click the render preview button so we can see a little snapshot of what the image looks like. And to make sure that it's going to render in the right camera, Let's right-click. Select Render. Select the camera we want. There we go. Nice. Now we can save the image from here and call it a day. Or if you'd like to render the mini loop that we made, selects the rendering tab. Then look for render and select Batch Render. If you're not really sure where it's going to send the files, just take a look in the very top of your render stats. Also, while it's rendering, it mentions where every single file will go to. When it's done, we'll need to hop into a program that can import sequences, import it as a sequence. And to make sure it doesn't have a background unless you did want background, render it as an Alpha and REGB. Now you can do whatever you like. Well, we've done it. I'm sure there's many more awesome things that you'll do with this new knowledge. Good luck. 19. Outro: Congratulations on finishing my older this pipeline tutorial. I hope you had fun. I hope you learned something new if it's not your first time in Autodesk, Eva. And if you have any questions, please send them my way. I'll get back to you soon as I can. Otherwise, I can't wait to see your macaroons. Fun. Bye.