| Mf |
Modeling a Beast Horn |
The purpose of this tutorial is to guide you through the process of
modeling in Maya. It illustrates some of the modeling techniques used
in Maya that some of us might have forgotten about. Then we are going
to export our model to Zbrush for details. Once the Zbrush phase is done,
we are going to export the details as Displacement map and apply it into
Maya. ZBrush
Portion of tutorial. |
Modeling a Car (Ford Focus) |
Tutorial series by Alex. A very in depth tutorial on car modeling. Pt
. Set up the image planes for good reference. Pt 2. Create the wheels
for the car Pt 3. Start making the low polygon model of the car Pt 4.
Convert the car to Sub-D.
* This is the Tutorial that I used to build my 1970
Mustang Mach 1. |
Modeling an Eye (Realistic) |
In this tutorial we will create a 3D Eye utilising Maya's Nurbs Technology.
I will be showing you some extra tips and techniques that aren't usually
shown when creating an eye, these tips will make sure that your images
stand out better than anyone else's due to the 'thinking' behind them. Texturing
the Eye. |
Modelling - Female Character (Comic) |
This approach can also be adopted when creating subdivision surface
models. Start with good reference material and use as much as you can.
Using your reference as an image plane, block out the rough shape of the
character using cylinders. When adding finer details make sure to follow
the muscle lines strictly. You must end up with a nice clean model, symmetrical
where possible. Try and keep to a grid system, this will give you a neat
model to work with, and result in better deformation. Do not put polygons
where they are not needed, even if this is to be a high-resolution model. |
Modeling a Giraffe |
Model a Giraffe from a Polygonal Cube. In this tutorial you will learn
how to start from a polygonal cube using Maya, and extrude the faces to
create a giraffe, you will use the Append to poygon to re-create deleted
faces, and Subdivide and Split tools to split a face into more faces,
and more... The tools are fairly simple, and the tutorial is great for
beginners... |
Modeling Kreacher |
I'm not sure if you can call this a tutorial as I will just be showing
different stages in the building of a character called Kreacher. Kreacher
is a house elf character taken from the harry potter books. But, first
I will be showing the modeling of is the house elf Dobby |
Modelling - Male Character |
This is an overview of creating high polygon highly realistic 3D characters.
There are different surface types available to us achieve a high resolution
model. Most of the time, I use smoothed polygons as opposed to true hierarchical
subdivision surfaces. With true SubD's you wont see any faceting associated
with traditional polygonal geometry, since a subdivision surface is the
result of an infinite mathematical refinement process to ‘smooth'
a model at render time. 1. Model 2. UV map and texture 3. Rig 4. Pose/Animate
5. Apply polygon smooth node 6. Render. |
Modeling - Continuity |
What is Continuity? by Alex Alvarez. Continuity applies to both curves
and surfaces. It simply refers to how two curves meet at a point, or how
surfaces meet at an edge. When using a patch-modeling approach, where
a character, vehicle or whatever are modeled from a series of patches,
like a quilt, one wants to avoid visible seams between the individual
patches. |
Modeling a Cartoon Dog |
Kurt shows you how to create this cool looking cartoon dog - Starting
with the image planes and moving onto the modeling which covers nurbs,
polygons and sub divs. |
Modeling a Dragon (Nurbs) |
This piece of article will show you step by step of how the dragon is
created using Maya. There are three type of modeling method in Maya, NURBS
modeling, Subdivision modeling and Polygon modeling, each of them have
their advantages and disadvantages. However we will build the dragon using
patch NURBS surface techniques. The tools that I use to model this dragon
are Birail tools, NURBS primitive, Fillet Blend Tools and etc. Texture
Mapping the Dragon. |
Modeling an Ear |
It's always a good idea to have good reference material. I recommend
Atlas of Human Anatomy for the Artist. It's a great resource for all your
human modeling… Anyhow, there are basically four major areas to the
ear. The outer helix: the outer rim, the antihelix: the top curls of the
inner area, the lobe and the ear hole area. (My simple explanation.. heh)
If you look at it, there is basically a single line that follows the outline
of the ear, then moves inside and branches into two areas. Keep those
curves in mind when you model. |
Modeling a Foot |
Modeling a foot in Maya by Steven Stahlberg. I won't explain every detail
in the beginning, you can get to the state in the next image several different
ways. For example like this: polygonal box modeling. (This isn't meant
to be a step-by-step cloning; it's more of a general workflow thing.) |
Modeling a Head (Polygon) |
*My favorite head modeling tutorial... By Dave Komorowski. First off
you should have a side and front view of the object (sometimes top too,
but I don't need one in this case because most of my detail can be defined
in the front and side). When creating these pictures it's a good idea
to use graphpaper so that you can make sure your detail is lined up horizontally. |
Modeling a Head (Polygon) |
Although polygons have some disadvantages, they also have some compelling
advantages. One of the main ones is that extra polys can be inserted into
areas that require more detail. NURBS and splines, on the other hand,
run throughout the mesh. When one inserts extra isoparms, these will appear
from the beginning to the end of the mesh. In other words, if an isoparm
is inserted at the eyelid, then this extra curve will flow all the way
down to the base of the neck. If your software is capable of modeling
with hierarchical b-splines (h-splines), then this will not be a problem.
H-splines allow you to have one mesh with varying levels of detail in
it. |
Modeling a Head (Subdivision) |
In this tutorial I will show you how to create a human head using Maya's
subdivision surface. |
Modeling a Head (Subdivision) |
Perhaps I should preface this tutorial by acknowledging that many different
methods exist for creating 3D characters for broadcast. To date, probably
the most popular method has, in my estimation, also been the most complex
one - that is, modeling with the use of NURBS surfaces. In the past, NURBS
modeling was generally credited with many distinct advantages over polygonal
modeling. Specifically, its advocates appreciate the excellent performance
of NURBS geometry in wireframe mode, the ability to easily modify organic
shapes with a minimal number of CVs while retaining a smooth surface continuity,
a virtually infinite degree of control over the tessellation of the model
at rendering time, the ability to easily add detail to a NURBS surface
without changing the topology of the piece (through the insertion of isoparms
at specified locations), and in some cases an added level of control over
texture application because of the inherent UV directionality that is
associated with NURBS and patch surfaces. |
Modeling an Island |
Modeling an Island beach sceene. Complete with beach sand and Palm trees.
By Brian J. Immel. |
Molecular Data in Maya |
This tutorial is broken down into several mini-tutorials designed to
give you some techniques to build on when bringing macromolecular data
into Maya. Specifically, we'll be working with the ever-popular, and often
misrepresented, DNA. Of course these techniques can also be used on any
of the thousands of molecules and proteins whose structure is freely available
online at the Protein Data Bank website (www.rcsb.org/pdb/). |
