In this chapter, we tackled NURBS modeling by going through the usual surfacing tools, from lofting and revolving to bevels and boundary surfaces. Then, we explored the implications of surface History and how surfaces adjust to changes when History is enabled. You learned about different editing methods for NURBS surfaces, such as inserting isoparms and attaching surfaces together as well as converting those surfaces to poly meshes. You then put those lessons to work on creating a NURBS patch model for a steam pump for the locomotive model. Also in this chapter, we introduced you to the Artisan tool and how to use it to sculpt a NURBS surface.
This chapter covered various modeling techniques to help you break away from typical ways of thinking. You learned how to use a lattice to adjust a polygon hand model into an alien hand as well as how to animate a balloon pushing through a pipe. Moving on to a starfish model, you explored subdivision modeling techniques that are based on polygon modeling methods. Using polygons and SubDs hand-in-hand, you first made a teakettle out of polygons and then refined the model using subdivision modeling. Finally, you learned how to convert SubD models back to polygons.
Modeling is usually the first step of CG production. It’s also almost always the first CG procedure at which students try to excel before moving on to other aspects of CG.
Using other tools such as a lattice to shape your model is not only a fantastic way of making gross or overall changes to a model, but also an excellent technique for adding fine detail in certain areas.
As you’ve seen in this and in the previous chapter, and as you’ll see in the next chapter, you can accomplish a modeling task in several ways. Different workflows give you the flexibility to choose your own modeling style. To make good choices, however, you’ll need to practice. Good modelers have a strong eye for detail and a high tolerance for work that is repetitious. They also love assembling a complex object, and they’re thrilled by the eventual outcome.
Keep at it; model everything you get your hands and eyes on. Try the same model a few different ways; switch between NURBS, polygons, and subdivisions to become comfortable with Maya’s toolset. As you’re doing that, stay on top of how you organize your nodes, and keep everything named and organized: the organization of your scenes is extremely important.
For further practice, use this chapter as a reference to create some of the following NURBS or subdivision models:
Bathroom Sink Snap a few digital stills of your bathroom sink, or find some pictures on the Internet. A sink will give you a great chance to explore NURBS surfacing, making pristine curves and smooth surfaces. It may be a bit involved, but it’s not overwhelming.
Couch or Love Seat Cushy furniture is great for NURBS as well as SubDs. Use lofting to make plush cushions, or use a primitive. It’s up to you, but try it. You’ll only get better with practice.
Disposable Lighter Sounds simple, but try to get detailed with it.
Cartoon Head Use Maya Artisan and the Sculpt Geometry tool to turn an ordinary sphere into a cartoonish head. It’s fun to use Sculpt Geometry to model. Try to make the head using only Artisan.
Human Hand Use the polygon model exercise in Chapter 4, but this time convert the base poly model you create to subdivisions and then add detail to it.
Computer Mouse A PC or Mac mouse makes a great SubD or NURBS model.
Office Chair This will require a few different components. Start with a good ergonomic chair to reference. Then, try to make the major (if not all) components out of SubDs. Afterward, convert it to polygons for additional practice.