Caleb White: Okay everybody, so
Caleb White: You know, we've kind of discussed the assignment.
Caleb White: And you all should kind of know what groups you belong to. Now, whether you're in the facade building systems logistics systems.
Caleb White: So one thing I just wanted to talk about before we dive into the model is that we're going to start kind of posting information here for you on your on your objects.
Caleb White: And what that's going to mean is I'm going to send you to a product page, whatever. It depends on on what you're doing right if you're doing an architectural facade has to be a little different. But let's say you're doing in this case we're going to start with an elevator model so
Caleb White: In this case, I'm looking at, I believe it's the evolution model or maybe it's the indoor I don't remember exactly, but
Caleb White: So I'm just going to show you kind of what this looks like when you go and you find a product spec sheet for like an elevator for, for instance, or for a chilling unit or for a conveyor belts or whatever.
Caleb White: I think that elevator website the face encrypt guys are a little bit slicker than some of the logistics companies.
Caleb White: But anyway, the nice thing is because these are products. These are things that people buy and put in their buildings of these are things that big companies sell and large numbers.
Caleb White: They obviously have a lot of data on it. So let me just quickly let me just click through this and set some of these
Caleb White: Every time you have to kind of do this. Think I'm trying to remember what parts I did here.
Caleb White: It was this one for door. But anyway, the point is, I'm doing all of this, just to kind of get to the the specification. Yeah. Here we go. I believe this is exactly it. So I actually modeled this whole
Caleb White: This whole thing pretty much just from an image, but what I did do to help me.
Caleb White: Yeah, I mean, all of this is actually coming from I believe this image, actually. But what I what I think is the important thing to understand here is you work from the information you have. And then you can kind of interpret the information that you don't. So what I've done here is
Caleb White: Once I've once I've kind of found the product, let me just quickly go here to the
Caleb White: Yeah, here we go. So they do have been files here. And if I remember correctly, I think I even downloaded the file for
Caleb White: One of these and it's it's actually not as detailed as the render interesting but it does have the major dimensions, it'll give you
Caleb White: Kind of the boundary dimensions of each kind of component. So if you would like to convert the rabbit file. We can we can look at that. But I also think some of these just drawings are are actually very helpful just to give us proportions.
Caleb White: So let me just download this quickly because I want to show you kind of how you might go about this.
Caleb White: So when I open this up it the thing that's a little confusing here especially. I mean, I'm assuming that many of you have dealt with drawing sets before but what based. We're just trying to look for critical information here so
Caleb White: This is actually just showing us like okay, what is the dimension of the elevator as it sits in the hoist way which is just like that shaft where they where they built the elevator. So this is where I started, just to figure out
Caleb White: The overall dimension, but that's really useful because if I firstly understand, Okay, well the the shaft way is like, you know, however many feet wide. I don't see the dimension is probably down below here.
Caleb White: Looks like it's about nine feet eight inches wide and if I see that it's about
Caleb White: In this dimension. It's about six foot 11. Okay. That gives me of proportion to work from. So now that I have the
Caleb White: The rough proportion of the kind of rectangular volume, I can establish kind of you know this. This is the proportion that I can work off of. And then everything else will be based off of that proportion. Does that make sense so
Caleb White: You know, I did actually go in and look at some of these smaller dimensions. But to be honest, they're not going to give you every dimension of every part. So you have to kind of work.
Caleb White: Based on proportion and and
Caleb White: Kind of understanding how the pieces relate to one another. So anyway, so that's what I would suggest, in this case for the elevator. I think this one was very
Caleb White: Very useful this kind of looking at this plan drawing for some of the other mechanisms, they'll actually give you overall dimensions. And that's where you'll start so you'll say, like, Okay, I know the overall object is 12 feet long, you know, five feet high and that you whatever so
Caleb White: But anyway, this is the kind of information that's super helpful to us. Now if you're lucky enough to find a an actual 3D model like in this case of dem file. If I click on this.
Caleb White: See what happens. I don't ever use rabbit. So it doesn't really help me that much. But let's see what it spits out. Also by the way. Sometimes the DA WG drawings are actually three dimensional drawings and give you pretty good dimensions. These ones are not, unfortunately.
Caleb White: But anyway, we'll talk about this and if you get stuck, and you need info. It's going to be different for all of your projects, but this is kind of one way that we can that we can begin. So I'm also going to just save this image as a reference.
Caleb White: So I'm going to put this in the owner folder with my model just that we can reference it and actually sometimes guys what I like to do is just take that image and put it in here as a
Caleb White: As a reference that I can look at one modeling. So, yeah. So two things. Let's do that. Let's to be
Caleb White: Image and I'm also going to take you guys don't need to be doing this part for now I can actually distribute this but just kind of follow along for a minute here.
Caleb White: Oops me close that
Caleb White: Close this alright so anyway. So that's about kind of just collecting the data that we might need.
Caleb White: For your
Caleb White: Object. So let me just quickly export this as an image export to image jpg
Caleb White: If you haven't done that before. And I'm just going to save all of these here. These are just reference. Again, I'll be not to be honest. After the first kind of stage. I don't even use these. But this, it's good to have them handy in case I need to confirm a dimension.
Caleb White: And let me just go to
Caleb White: Okay, so yeah, so we I mean there's some other drawings and didn't, we didn't look at, but these are
Caleb White: I think just different configurations right based on the shelf size and the control rooms. So this is actually an overall
Caleb White: It's not a section, exactly, but it's given us an elevation of the proportion size. So this is actually helpful to that's actually, it seems, because we've done this before we kind of know but this piece here that's actually what we're seeing in the
Caleb White: When I look at my model just clear this
Caleb White: This is what we're seeing.
Caleb White: This kind of frame that holds the counterweight which is here.
Caleb White: So there are dimensions to be found. But once we get started, we can work off of the overall proportion
Caleb White: So there's a couple things I wanted to talk about here. I'm going to bring in those images and then maybe we can we can discuss a couple others. I want to talk when it's just a femoral about polygon modeling.
Caleb White: But first, let me just bring in these images and then we'll do that. So Brian was showing you how to bring in a image as a material on a surface. I'm going to show you one other ways. Some people don't like doing
Caleb White: Bringing them into this way. But this is what I like to do it. I usually go to just
Caleb White: If you go to under the Create tab. That's where your nerves polygon volumes, all those primitives were down below. There's something called a free image plan.
Caleb White: And this is kind of a weird thing. It's not an object. It's not like a surface. It's really just a container that holds an image in previous edition. This isn't really unstable. So I think that's why people maybe people don't use it. But I think the newer version is actually much, much better.
Caleb White: Let me just go to, once you once you've kind of place this then again under create an image plane. Once you've placed it if I go to attributes. Sorry. Yeah, my attributes tab. Remember the little time, we were changing materials and all that.
Caleb White: Or the Attribute Editor. If you there's a little
Caleb White: Like folder here where you can load an image into the image plan and that way you can always go back in and change it to. OK, now I'm going to find my folder there was just a second here. So then you just go find your image.
Caleb White: Sorry.
Yep.
Caleb White: Sorry, I'm lost in my own computer. Okay, there we go. Alright, so I'm going to just bring in this JPG, so this will be a reference. Now this is not for dimensions. This is just for me to look at kind of while we're all working here.
Caleb White: So yeah, so we'll have that here.
Caleb White: Just as kind of a reference. So maybe I'll just
Caleb White: I'll just put it somewhere where I can continually reference it
Caleb White: And so we know what we're working towards here.
Caleb White: Alright, so I have this image.
Caleb White: And again, for now, guys. You don't need to follow along with me just kind of, you can just kind of watch here. And what I'm going to do is actually distribute this file.
Caleb White: And then
Caleb White: I are actually there will be asked you to follow along. But for now, just kind of kind of hang in there. So, all right. So, um,
Caleb White: Let me just play one more critical free image plan. Yeah. So again under create and then free image plan. That's how you get one of these little containers and then you can
Caleb White: Attribute Editor. This third tab here, click on the little folder and then I can place one of the plans. See, sorry. I actually should what I should do is edit this down. So it's not so big. But for now, it's okay. I'm actually not going to model.
Caleb White: It is that it's going to be a reference for me. So anyway, so I'll bring that in over here.
Caleb White: This is kind of our, our drawings tables, I can come back and check for dimensions and things like that.
Caleb White: So anyway, so that's just want to show that that's another way to bring in images. And that's kind of the way that will work on this guy here.
Caleb White: Alright, so let's talk about polygon modeling. So if you'd like, you can follow along in this part. And I'm just going to do a couple things. If you would like to
Caleb White: We're not actually going to start this piece. Yeah, I just want to show you a couple tools. So there's something that we mentioned yesterday and kind of in previous sessions.
Caleb White: There's, you know, we keep saying polygon modeling versus nervous modeling and I know we've talked about this a little bit, but this is really, I just like to point out
Caleb White: Just clearly what the difference between the two is because I think it's not so obvious to people what it is or why you would use it in any particular case. So
Caleb White: When we say nurse modeling.
Caleb White: Nurse modeling is
Caleb White: What's let's just google this like we talked about it, it's you know, it's a it's a mathematical model. So basically when you build under the
Caleb White: Surface, you are building a model which using a series of spines and
Caleb White: Again, we talked about what not nerves means it's a non uniform rational beast blind, you don't really need to know what that means. But the point is just that.
Caleb White: You are actually using the geometric calculation of this, what do you call it.
Caleb White: The spine curve. And essentially, you're making up surfaces that are built from these curves in two directions. When we use terms like Lofton when we use terms like
Caleb White: Like for instance, if you're familiar with Rhino locked in network surface all of these terms are actually referring to how you construct the surface using
Caleb White: A mathematical curve right so it's actually a curve that is approximately these control points and it's called a spline right so that's what we were doing with the with the Pentagon chair.
Caleb White: Now there's another way to produce curvature in space and and it you know there's there's a I mean there's actually probably many other ways, but the other way that we talked about within the 3D modeling world is
Caleb White: Is through mesh geometries. So most software's like if you just use Sketch Up, for instance, it's actually all using match geometries.
Caleb White: It doesn't have the smoothing capacity that Maya has but you're just extracting meshes and cutting them right so much a mess. Geometry of vertices
Caleb White: So this is really important because it's a little hard to explain, initially, but every mesh is made essentially just have a list of points in space.
Caleb White: Right, so every corner of a cube, for instance, is listed as a vertex location. And that's just an X, Y, and Z number. So when you're looking at a mess in Maya.
Caleb White: The computer only knows that this is six points in space there. It's actually not storing any other information except that there are six points or no, I'm sorry. There are 8.65 no way we can cut some points from
Caleb White: There are eight points in space that define these, I guess it would be six quads. So quads being each of these phases. Right.
Caleb White: And it's not recording any other information than that now. That's important because nerves surface is recording all of the information was used to construct it
Caleb White: And then it's trimming it or, or, or, like, and right now it's making a plan or something that's just a tremens nerve surface now.
Caleb White: The only belaboring this point so that you understand what that gives you why that's special so within mesh geometry, there's a way to then produce a curvature, just based on that information. So there's something called cat more Clark.
Caleb White: Smoothing so that is what
Caleb White: That is what Maya does to smooth object from the simplified version. So this is a tiger my show every year. It seems to smooth object from a cube. So, again, my is only remembering these eight points in space. Sorry, let me open this up bigger
Caleb White: open a new tab.
Caleb White: Yeah, is only remembering these eight points in space, right before top points here before bottom points here, but it is able to approximate
Caleb White: If you were to use cat mall Clark subdivision, which is just a mathematical subdivision. I was surface. So it means it it's taking this point, producing a mesh based on that point, producing the mesh based on that point.
Caleb White: And then moving these points as an average to the inside. Right, so it moves all these vertices inside. So that's when we talk about one mode. This is one mode.
Caleb White: This is actually what we would call to mode which you'd actually don't really see but it's the second degree of smoothing, which will show you in that little tab.
Caleb White: In Maya. This is like a third degree of. So this is a fourth degree of smoothing. So the more times you run the capital Clark smoothing the more times. It gets
Caleb White: The smoother the object gets, the more curves, it gets I'm only showing you this that you can kind of understand what's going on in the background in Maya and it helps you understand a little bit
Caleb White: Why did my workflow. It does. So the brilliant thing that Maya does, though, that most of software's that are similar. Do not do.
Caleb White: Is that I'm able to preview what that smoothing does without destroying this mesh here. So this, again, this is a box. It just, it just recording eight points in space.
Caleb White: But when I press three it's giving me the approximation, as if I had smooth that object. Three times through camel Clark subdivisions so that diagram was just showing
Caleb White: That diagram. I was just showing it was essentially showing you the progress from zero degrees of capital Park smoothing
Caleb White: One second degree and then to the third, and as we said, you can even go to a fourth but the brilliant thing about Maya is that
Caleb White: It is, it is only a preview and I can toggle by pressing one or three from that mode.
Caleb White: Okay, so that's that's the really clever thing about my and once we start getting into more surface modeling.
Caleb White: You'll see that there. That's actually a huge advantage to be able to preview that, but then also be able to edit vertices here so that I know I can control the curvature of the funnel object. Right.
Caleb White: But I'm not, I don't have to smooth the whole thing to see what it's going to look like. So here I am, I'm modeling in three mode, but I can always go back to one mode and say like, Oh, I actually think this needs to be planner and sharp right
Caleb White: And then select a free moment, so that's that's the power of Maya. So when we start getting into soft modeling, which is more of these these fine surface modeling, you're going to see the power of mine. Okay.
Caleb White: So that's, that's, that's kind of what I want to talk about in terms of polyamory. That's the power of polygon modeling. Now, as we've already stated, for most of your model here.
Caleb White: It's actually going to be hard modeling, which means we're mostly just gonna be modeling and one but there's an important thing that you should understand about that.
Caleb White: The important thing is just that we, you don't want to have a full model here where the whole thing is doing.
Caleb White: Is on three modes and smooth gradient is the model will get extremely heavy and also I'll explain why in a minute.
Caleb White: To make all the sharp corners, you're, you're gonna have to add more edge loops and that creates more information and it basically will slow down the model. So most of our model will be happening in most
Caleb White: In hard
Caleb White: Or hard modeling. But I think the important thing for you to understand is just the power of polygon model. And so one last thing I want to talk about before we move into this, this
Caleb White: Tutorial is just the example just to show an example.
Caleb White: So to talk about hard modeling. So let's let me just delete this. Let's say we're making that a to here. Let's say you want to make a pipe, maybe I should start with a primitive instance. So I'm going to go to
Caleb White: Remember how we were discussing if you want to create any polygon primitive I generally work from just surfaces or cubes, but
Caleb White: If you go under the Create tab under the polygon primitive time there's a whole host of primitive polygon objects here. So let's say we wanted to create a pipe. There's two ways we could do it, we can start with a cube.
Caleb White: Cube to the link that I need it. I could delete the ends, actually.
Caleb White: The first. So it's making kind of a weird shape here. It's not. It's like a weird stretched and not really a pipe. But if I delete the top and bottom. It's essentially creating
Caleb White: A pipe. So once you delete once there's a naked edge, it does not smooth that edge so naked edges just a non closed edge of a mesh. Right. So anyway, so that's one way you can create a pipe. But again, as I'm trying to explain
Caleb White: It. We're trying to model an extremely intricate object, you don't want everything to be in three mode.
Caleb White: You would like everything to give one mode. So how would I, how would I make a pipe that's in one mode, probably a better way to do it would be to use something like the poly cylinder which
Caleb White: Displays one of those here.
Caleb White: And
Caleb White: The proportion, a little bit can actually then change how much you know how smooth, you needed to be like, That's again that's based on
Caleb White: Maybe how big the object is going to be so maybe I can take it down to like 12 or even 10 subdivisions, and it looks
Caleb White: A little faceted. Maybe I want it to be a little bit smoother. But now, the difference is hopefully this makes sense but
Caleb White: The difference is that if I'm making a pipe. This one.
Caleb White: This is in one minute, so it may have more edges but I don't need to worry about smoothing it. So we're going to, we're talking about smoothing objects. If I wanted to move this object to render out to dry it to export the model in some way. If I go to modify
Caleb White: Convert smooth mesh preview to polygons.
Caleb White: You can see that that object has far more edges than this object. Right. But, so this is not now he's opted for both in one mode. This one was created through smoothing. And this one was created through just a polygon primitive with less parts.
Caleb White: So anyway there. Any questions about this. I just want to explain the difference, but I think maybe that's a little confusing to my users initially what type of modeling, we're doing, whether it's kind of a hard month modeling heart.
Caleb White: It's more soft three three mode modeling. Are there any questions on that.
Zheng Gong（Jerome: Oh, yes.
Zheng Gong（Jerome: Yeah. Before you say that we have to make models as
Zheng Gong（Jerome: Precisely, as we can.
Zheng Gong（Jerome: Yeah I noticed there are some pipes in the elevator tomorrow. So we do prefer we use does. Yeah. So these are going away affect the accuracy.
Caleb White: Yeah, so that's a good question. And when we get to this. I'll show you the exact technique of how I did this. There's a couple ways you could do this, you could build this from poly parameters.
Caleb White: That are pre made like for instance, like a Taurus. So this is a polygon Taurus. You can cut it, cut it so it makes it a 90 degree turn
Caleb White: And then just extended the edges, which is actually how I did it. Another way you could do it, which I'm sure, Brian.
Caleb White: Would would recommend would be building kind of just a simple nerves curve and then you can actually sweep along the curve. But yeah, these are going to be hard mode hard modeling parts. So these are not smooth. Right. So these are both in one mode. If I'm pressing one here.
Caleb White: They're not. They're not a preview oh smoothed object, but I'll also show you other components, kind of like this one where I've made it in a three mode process. But then I kind of smooth it to then
Caleb White: What am I trying to say to kind of freeze it where it's at. So that I'm not toggling between 1,000,003 million. Yeah, because we don't want through mode objects when we're trying to make drawings and things like that.
Caleb White: We're trying to export to other software's and things like that. I hope that answers your question. But yeah, we'll be using kind of a mix of techniques. But in the end, all of this will be kind of hard model.
Caleb White: Geometry. Oh, there's another good example. I'm pretty sure I have a nice comment from a cylinder. Yeah, that's fine. Just made from a cylinder. But, um, so, yeah, we'll use will use those techniques to to get to this point.
Caleb White: Okay. And then last thing. This is not super useful to you and me. Get let me, but it is something you will use. I just want to show it briefly.
Caleb White: The last thing to discuss here just about hard and soft modeling is that when you're modeling in the next kind of innovation that makes I think my a really special.
Caleb White: Is the fact that you can work in three mode.
Caleb White: You can work in three mode.
Caleb White: And go back to one mode. But you can also control the degree to which you're seeing caricatures and control the sharpness of edges. More precisely, so on. We're going to use these tools, a lot more, but just so you understand
Caleb White: If, if I wanted this thing to for instance I showed you before, I deleted the top and bottom of this to produce sharp edges on the top, but now it's open. Right. But let's say I want to make sharp edges but keep it closed.
Caleb White: There's a few tools we can use to do this one tool is a tool that you're going to be using all of the time in Maya and that's to insert an edge loop an edge loop is a
Caleb White: It is a way of adding a division to a mesh face or a series of messages so that you can either extruded so that you can control the sharpness of an object.
Caleb White: Or something, you can just create maybe that inflection and an object or something like that. So yeah, let's say that I have this this kind of cubic extruded volume, but I want to add a division.
Caleb White: In the middle, so that I can extruded and make the make a
Caleb White: Make an extrusion on one side.
Caleb White: So there's actually a few tools to do this. But probably the most common tool you're going to use all the time is insert edge loops. So in Object Mode. Remember how when you hold them right click, you can access Object Mode edge vertex. All of these modes face.
Caleb White: Which will probably never use, but we'll talk about at some point.
Caleb White: So in Object Mode. I'm going to hold down Shift and ready, click as with pretty much all the commands. We're going to use. And I'm going to go to insert edge loops tool.
Caleb White: So once I once I release. I can then all you have to do to insert an edge loop is drag on one of the edges of a mesh face so dragging on this edge. I'm just going to place it here kind of randomly and I'll show you at the moment. There's many settings that we can use to
Caleb White: To control where we put the edge loop.
Caleb White: So then I press. T, t, by the way, is a way to end the two minutes. If you're in process. And I don't know why it's to it just is Steve fault at all. Hopefully, it's the same on a Mac. And I think I don't know.
Caleb White: But yeah, so now that we've added this this subdivision. Let's say I wanted to exclude this face or something. Now I can go in and shift, I can just select the face shift right click
Caleb White: And go to exclude face and then I can add. That's how I can add some a cut in the service. So I can exclude it right
Caleb White: Okay. But there's another use for the absolute that I'd like to show you
Caleb White: So the other interesting phenomenon that you realize is you see this kind of mesh preview that's making this thing soft and round.
Caleb White: If I go back and and split shift right click Insert edge loops. Once you start inserting edge loops, you realize that you can also use edge loops to control curvature. Right. So now that I've had an absolute
Caleb White: You'll see that the top of this is left. Perfect. And then what you start to realize when you play with this is that
Caleb White: Based on the distance from one absolute to the next, it knows to very close to the edge. It'll control how curved edges. So if I move it down, it gets more current and move it up. It's less curves.
Caleb White: We'll go into this more when we're talking about surface modeling. You don't need to know this right away, but it's a phenomenon in mind that you use to control curvature is the density of the edge loops and it has to do with how your smoothing mesh.
Caleb White: So don't worry about this tool. Now there's actually another tool. So I'm actually just going to delete this, by the way, if you ever need to do the opposite and remove an edge loop.
Caleb White: We're going to be adding and removing edges, all the time. That's kind of how it works. So now I have a session, I want to remove it. If you just hold down shift right click, you can go to delete edge and it will remove that
Caleb White: And just one other tool that we're not really going to use right away. So I'm not going to really
Caleb White: Dive into it too deeply. But, you know, there's another tool that we use to sharpen edges, which is another kind of great invention, which is called increase tool.
Caleb White: The crystal is just a way for us to artificially add an edge loop and to produce the sharpness on
Caleb White: What again what I can use much of that. In this tutorial, but it's just something for you to know about controlling curvature and polygon modeling. So if I have these edges selected, I can go to shift right click
Caleb White: And then I can go down the menu to the crease tool here is the first item on the menu, the drop down menu there.
Caleb White: And then with the crystal, you're just using the middle mouse button. So I'm going to click my middle mouse button and hold it and then I'm going to drag it to the right.
Caleb White: And if I drag it all the way to the right. It makes it as sharp as possible. Almost like
Caleb White: It's not smoothing that edge at all. I drag it to the left, I can release it. But if I. The nice thing about the crystals that I can control that. And somewhere in the middle.
Caleb White: The brilliance of the crease tool is that now I have an object that still only has eight vertices of data here.
Caleb White: But my that has given us a preview is that we've added way more information to it. So we're limiting the number of edges, while still being able to conform precisely the curvature
Caleb White: Crystal is brilliant. When it first showed up in like, I know you
Caleb White: Can click on the 14 miles or something like that. It was kind of a garbage man like you couldn't really control it very well. It would disappear and sometimes it still does. By the way, if I screwed this face. It's probably gonna disappear. Let's see.
Caleb White: Now actually fine. It works. But the point is,
Caleb White: It used to be kind of an unreliable tool. It's more reliable now.
Caleb White: But it's another way for us to control curvature and we'll talk about other techniques for that as well. When we get into more, you know,
Caleb White: More kind of soft. I don't know if I should call it South Mountain that more surface modeling that's dealing with curvature, but I'm just trying to kind of make you aware of all these polling tools. Okay.
Caleb White: So yeah, so just let's let's kind of, I think we can start in tutorial so I what I'd like you to do is follow along.
Caleb White: As best as you can. What we're going to do is start from Canvas, the shaft and then we'll move from there.
Caleb White: So,
Caleb White: Any questions on that, by the way, just the insert absolute thing and the kind of that net like Brian said you were going to end up modeling. Most of this stuff using three commands.
Caleb White: For me, the three commands. I use most to model anything are insert edge loop and extruded so if you can get used to just shift right click Insert absolute
Caleb White: Place where you like, which again, we'll go over it, but there's some very specific controls that we can use to distribute those edge loops.
Caleb White: And then the other commands that I use just pretty much
Caleb White: And we'll use all the time is extremely so again if you get in the habit of just selecting the face you want or the edge you want and then so we said before, shift right click
Caleb White: Takes you to all the commands you need extremely face and then you can experience. So anyway, that's like 90% literally of what you need to know to get to
Caleb White: To, to get to this. Now we're going to show you a lot of other ways to do things. But if you only knew that I think you could even get pretty close.
Caleb White: Okay. Any questions before we get started, guys about anything I've just shown. I know that's a little bit of an intro that's
Caleb White: Not really focused on the model we're making, but I think it gives you a sense of some of the basic polygon tools that you'll need for this. There's some others that will encounter on that along the way. Any questions.
Caleb White: Okay, great. So I think what we could do. Next, let's talk a little bit about scale in mind. So what I'm going to do is
Caleb White: You don't need to import this drawing, because I'm just going to give you a number to work off of. But what I'm going to do is build essentially I'm trying to do is build a boundary volume.
Caleb White: Like in rhino. I had typed boundary box you know of this object. So what I'm going to do is kind of work, roughly off of roughly off of these dimensions.
Caleb White: And we're just going to make a boundary volume for our elevator. So people were asking how to model, precisely in my and how to work with units. And the way I again and let's talk about this the way that I deal with it is that
Caleb White: Whatever is going to be my primary unit. I'm deciding now. So as I'm doing and I don't need to really worry about changing the units of miles using because, again, for me, it's really just that a unit of one will either be one meter, it'll either be one foot, it'll be an inch so
Caleb White: I think the that's kind of the best way to operate. So in this case, the drawing is then
Caleb White: Looks like it's in. Sorry, I'm going to open it really not looking so clear here.
Caleb White: I believe the drawings and feet and inches, which is not my favorite. But what that means is I'm actually going to just say, all right, I'm where I'm going to roughly use feet.
Caleb White: Now what that means is that I'm going to have to kind of estimate, you know, what is nine feet eight inches, which would be what 9.6 or something fee but
Caleb White: What you could do if you really wanted to use inches is you could convert these Seaton inches to just inches. And you could say, oh, that's you know 200 and whatever inches. But I'm not going to do that. I think that's too.
Caleb White: That's actually too confusing for you guys, especially because I don't think you're using inches. Anyway, so, so the way to precisely build an object at scale in my own is actually to control it in the attribute Attribute Editor.
Caleb White: So when I first create, let me just, let me just make a box so you can follow along with me. Now I'm going to make just a poly cube.
Caleb White: And actually I should mention this. If you're clicking on these primitives and they're not letting you interactively create them. So for instance, many of you are probably going to probably on primitives.
Caleb White: And you're just clicking on the cube and it's just appearing at the origin, that's fine. If you like that. That's okay.
Caleb White: I find that a little annoying because then if I'm working, you know, over here, all my objects are appearing at the origin. So the way to fix that is if you just go to create and under the Create tab. If you go to Polygon Primitives
Caleb White: Down here at the bottom. Check that little box that says interactive creation. Okay. Now, whenever I clicked on a poly cube.
Caleb White: It's going to ask me where I want to drive the cube. So I'm just going to drag it on the on the base of the grid here and then I'm just going to drag it to a rough height.
Caleb White: Alright, so now that I've made a queue. So please do that. So if you haven't done that yet. Remember, you can go to create Polygon Primitives, and you can take the little interactive creation box and then all have done after that is click on policy view.
Caleb White: Like somewhere on the ground here.
Caleb White: It doesn't actually matter what the dimension is here because I'm an adjusted and then you drag it to the rough height that you want. So just make for me a cube that's kind of like a tall long, extended rectangle here.
Caleb White: Okay, so once you have this instead of trying to model this based on the Dimension. Dimension initially when I usually do is just make a cube.
Caleb White: And then under my Attribute Editor. So if you're not seeing this go and click on your little Attribute Editor button which is the third one here.
Caleb White: You can actually go to poly cube. It'll. It'll. It'll be named something like poly cute 123 or whatever on your
Caleb White: On your model. But once you click on that attribute tab, it's going to show you the width, the height and the depth of the cube. Okay.
Caleb White: So what we're going to do is enter the dimensions here. I'm going to give
Caleb White: You and I'm going to round them a little bit because I don't want to work with feet and inches. I should have actually found this metric that I think that'd be a lot simpler. I actually, I much prefer working in metric these days.
Caleb White: So the dimensions. It's giving us as the overall rough opening. It's also giving us the door opening, which will use later, which is very helpful. And it's given us the width. So I'm, what I'm going to do is just go ahead and input the long side.
Caleb White: Of the rough opening and this is the interior of the the shaft. So that's nine foot eight. So what I'm going to go ahead and say is I'm just going to make that healthy guests and say that that's going to be nine. Let's just say 9.8 for simplicity. So under with put 9.8
Caleb White: So if you notice when you type that I didn't see my kid when I was taking here. But let's say I put five here and then I put 9.8 it snaps to that with. So now I know that this is precisely 9.8 feet wide. We're calling feature.
Caleb White: And then the folks behind this, won't we won't stop that. Yeah, we'll set that in just a second, but let's do them that what they're calling the depth. Remember sentence XYZ
Caleb White: And animators work with me in the kind of facing new direction depth is actually going to be your essentially why dimension. So under depth. Let's go ahead and pull it. Let's see me go back to my image here.
Caleb White: Let's call it
Caleb White: This way that that says a lot less it seven so it's gotta be the depth is going to be
Caleb White: So,
Caleb White: If you're following me, all I've done here is I've created a cube.
Caleb White: Roughly to where I want to upset the width to 9.8 and I suffered depth to seven.
Caleb White: Okay, so you should have something kind of like that.
Caleb White: All right, now what this is going to do for us again guys, this is kind of just our
Caleb White: This is our kind of framework. So we're going to, if you can see in my mind next steps we're going to actually put this on another layer and lock it, but this is going to be how we shape everything to fit into the
Caleb White: The overall mastering of the elevator court. Okay.
Caleb White: So,
Caleb White: Let's address the height in just a second here. But let me just
Caleb White: I'm just going to move this and I'm going to rotate it, because I don't know if you noticed, but the the length is actually kind of pointing this way.
Caleb White: And the only reason I'm doing that is because I wanted to kind of match the image and it's a little hard to tell but the length is actually going this way, the image.
Caleb White: Doesn't really matter that much. But just to show you as a refresher, in case you don't remember from the other day, if I wanted to rotate this object.
Caleb White: 90 degrees. There's two ways that I can do it. Precisely. Again, we're just trying to talk about precision here, one way to do it.
Caleb White: Precisely would actually be to this is the way that Brian's been showing in the way that I normally do everything. So I just start rotating this thing. But if I look at the attributes tab. Sorry, let me just open that. Or, sorry. No, it's in the chat box.
Caleb White: So once I start rotating it you'll see you can watch this number here, rotate Z. That's the number that's changing that means I need to change this number two. Let's just say
Caleb White: So that's how I can rotate this object 90 degrees. The second way you can do this, which I find very annoying, but some people really do prefer it this way is you could go to your tool thing.
Caleb White: And this is actually how you call some move things by the precise division dimension. So I should show this anyway.
Caleb White: But let's say I wanted to rotate this specifically 90 degrees within your tool things you can actually go to
Caleb White: Transform constraint central sciences, this little bar here. If you can't figure out how to modify what tool you're using. It's always here so
Caleb White: This is another one of those tabs that you just need to know that this is where you modify all of your inputs. Remember, this is where we were talking about the pivot anything to pivot. This is where we were talking about
Caleb White: All kinds of stuff. So under transform constraint. If you turn that on to, oh sorry, it's the wrong one. Nope, sorry. It's step snap and not transform constraints. So under step snap, you can click it can be relative or absolute relative, I believe, is
Caleb White: Based on where relative is actually based on the objects location I believed and
Caleb White: The orientation of the pivots on an absolute
Caleb White: Is world coordinates. So if I type in 90 degrees here. This is 90, this would be 90
Caleb White: Now when I drag this little
Caleb White: Part of the pivots or rotate it will only let me rotate it by 90 degrees. So you can see now why that's a little bit annoying. I don't like going in and out of this tool to adjust it. That's fine. I just type, but it's also worth noting, because
Caleb White: By a precise demand Gen. Let's say you want to move it by
Caleb White: Let's say I want to move this to the right by 10 feet. I can go to step snap absolute
Caleb White: I can set this to 10
Caleb White: And then now right drag this it will only move in 10 foot increments.
Caleb White: If that makes sense. Now one thing I should show you I think I just spoke about this. If I go to relative it'll move 10 feet from the position. It's in now.
Caleb White: Right absolute will be world coordinates. So, meaning it's going to snap, snap to 10 foot increments on so if you'll notice when I drag this it makes a little skip
Caleb White: Now it's on a 10 foot increment and then it'll be off by 10% increments from there on out.
Caleb White: So anyway, so that's just a you know that there's a more precise way to move things is more precise better rotate things. But again, I think most the time, I'm just going to show you how to work with it.
Caleb White: By typing your, your numbers in the Channel Box here because I think that's a lot faster you'll get quicker at that too. But if ever you don't know which direction you want to rotate it or whatever, you can just check your channel box.
Caleb White: And rotate it that way.
Caleb White: Okay.
Caleb White: So we have
Caleb White: Something. Yeah, go ahead. Chris
Grace he: Yeah, if you turn the app relative on here and
Grace he: If you press J. The relative your turn to have
Grace he: Good can just, yeah, you can just type the number
Caleb White: Did you say today.
Grace he: Yeah. Jay, you can try.
Grace he: To offer, but it when you talk when you press Jay will turn to read to
Caleb White: That's very handy. Yeah. See, I don't use it.
Grace he: A lot
Caleb White: Oh, do you, okay.
Caleb White: Yeah, see, some people do prefer working with
Grace he: Steps
Caleb White: So she's saying if you then hold j. So, I'm going to press Jay and watch this will turn off. So now I can move it. If I just want to nudge it a little bit, but when I let go of Jay
Caleb White: Yeah, it's back on.
Caleb White: It's free.
Caleb White: And it will snap to increments. That's very helpful. Great. Thank you. Yeah, I never, I never really used this tool, but that's a good. That's a good tech
Caleb White: Okay.
Caleb White: So let's do this. So now I think what I want to do next, I'm just going to stop the fighting. Sorry. I know I'm moving a little slow here guys, but I think once we get past these initial steps, this, this will move a little quicker.
Caleb White: But we're kind of setting up a work environment for ourselves to be able to model this okay so
Caleb White: Let me look at the next dimension. So the next dimension will be the overall height. It doesn't really matter. I think I just picked and said let's make it three stories, but we could look here.
Caleb White: We could look at the dimension here, I think.
Caleb White: Oh yeah overall dimension because it's not, but it doesn't even have the counterweight and all this. So let's just say, let's get it to a standard, I think, let me just measure what it is here. I think it'll be three stories high.
Caleb White: So if I go into my
Caleb White: Attribute Editor.
Caleb White: Modified it's not work here. Let me just do this really quick.
Caleb White: Just bear with me.
Caleb White: OK. So the height. I don't know why I said it's a 20 doesn't really matter. Let's just send it to three. Sorry. So let's say this is a it is an office. It's a formatter glorified or something like that for a
Caleb White: eight foot nine foot ceiling height. Let's just do
Let's do
Caleb White: 30 seconds to short
Caleb White: See what this one is.
Caleb White: I'm sure there's a reason that dimension.
Caleb White: So set your five to 50 or now it seems like 50s. And I don't know, maybe I just picked a random dimension, that's fine. That's better.
Caleb White: And then what we're going to do after that is we're going to make a new so you have any with a fight. Just overall dimensions with the older shaft or 9.8 with high as 50 and
Caleb White: Now we have kind of the overall shaft with, let me just go ahead and duplicate this. So remember, press Control D. So now we have a second object here I have my cell phone. I'm going to turn it off because I'm not great.
Caleb White: So now what I'm going to do is
Caleb White: I'm going to align this. I'm just going to move this over here done. You don't need to worry about that. You can just pull it over by a distance here. And so what I'm going to do is I'm going to
Caleb White: Turn this into a frame of reference frame for this. So if you remember, there's a easy way to do that under your channel box which is that last tab here. The fifth here.
Caleb White: I'm going to create a new a new layer. So I already have some layers here, you won't have a layer. But if you just go ahead and create a new layer.
Caleb White: And then I'm going to, if you click on the layer and you hit right click, you can click Add select and objects. So basically, all that's done is move this object to that layer.
Caleb White: And you'll notice there are three little channels to the layer. If I click on this third empty channel. Once it kind of makes a wireframe view. If I click it again. It makes a locked object. So I can't access it, but I'm seeing the solid
Caleb White: Because then I can snap to that object. But basically, I'm going to use that as a framework.
Caleb White: To
Weihang Huang (kevin): Can you say that again like
Weihang Huang (kevin): How to send
Weihang Huang (kevin): Your query, a new layer and then
Caleb White: Sure. So once I press the new layer tab and you have your object selected, just click on that new layer that you just made. So click on, for instance, for me it's layer three
Caleb White: Right click and click Add selected object. So now whenever I turned. If I click and be this object should be on that layer.
Caleb White: And again, in that third tab is where you can control the transparency around started. It's like a locked wireframe t is kind of a locked wireframe and ours, just a lock.
Caleb White: Box version which is very helpful. So
Caleb White: I'm going to leave it on our for now and there's a reason. I'll explain in just a second. So
Caleb White: The next thing we should do is I'm going to go back here and grab my other cube or actually, let's make a new cute because I want to show you some snapping tools so
Caleb White: Let's make a new cube. So click here on your polygon cube and it doesn't really matter. Just the dimension or anything, because we're going to snap here, just go ahead and drag in front of it, kind of a cube shape.
Caleb White: And what I'm going to do is I'm going to place this cube within the volume of docu now this is this is where I think people get a little stuck on Maya.
Caleb White: Initially, is that they have a hard time figuring out how to move the pivot. How to snap from one things when it but once you get this down. Things are really easy. So if I wanted to, let's say I want to move this queue.
Caleb White: To that corner. I think most of you are probably struggling a little bit so you probably like, oh, I'm just gonna do this. I'll just remove it and get it close and then see if I can sort of the line. But mine is actually really good.
Caleb White: With vertices snapping. So remember, the only data you have
Caleb White: You the only data you have for a mesh object is the vertices, edges. So the way to navigate Maya and to move objects into snap them to one another is through the vertices. So
Caleb White: If I wanted to make this corner here snap to this corner. The easiest way to do that would be kind of a two step process. So,
Caleb White: First, I'm going to press w w is your Move Tool. As you as I think you all know by now. And then I'm going to hold down de
Caleb White: De allows me just move the pivot. In fact, I can move the pivot wherever I want. So while you're holding D if you just click the little side of the pivot. You can move that wherever you want.
Caleb White: But now if you hold down date and v. At the same time, v is just telling it to snap to vertices. So when I hold down me. I can drive this this pivot to snap to that vertex
Caleb White: Okay, now let go of everything. Now your pivot should be snapped to that corner of the box.
Caleb White: That may seem confusing, but you're going to end up doing this a million times a day later on and it's it's it's going to be incredibly fast.
Caleb White: So now that I it's a little confusing, but now the pivot is after that corner.
Caleb White: I don't need to press D anymore. Do you use just to edit where the pivot goes. But now if I just click and drag. I can drag this wherever I want. But then if I hold down v.
Caleb White: Again, v is telling you if you notice, the snap is activating up top here. The snaps that Brian was showing you
Caleb White: Are sorry here. It's a, it's not a courtesy, but also when I hold down v. You'll notice this changes to a circle.
Caleb White: So I'm going to hold down v. And I'm just going to drag again from this spot. So in this corner, and now we have the box snap to that corner.
Caleb White: That's the like the bread and butter of polygon model and is being able to just snack things to vertex and move them.
Caleb White: Another like handy trick if you just want to align something to a corner. If I hold down v i can also just use one of the axes to move as well. So maybe I want this edge to align with the far edge. I can hold down me and drag the bringing axes, and it's going to snap to that edge.
Caleb White: I can hold down V and do the same with the blue axes and snack to the bottom right so zoom in on that.
Caleb White: So anyway, that's very useful just the vertex snap and being able to edit the pivot. That's how you're going to do, like most of your moving and working with your object. So I'm going to do that one more time. So let's go back a few steps here.
Caleb White: Just to the end and we got lost there. So just remember again the pivot is not in the centroid of this object, naturally, that's where it lives.
Caleb White: So if I select any object. The Tibetan is kind of just naturally in the sun for the object. Now, if I want to modify the pivot I hold down D.
Caleb White: Now what I haven't told you yet. We'll go through that in a second. There's other modifications you can make to the pivot. But for us, we're just trying to move it. So we're going to hold down D.
Caleb White: And we're going to hold down V and you'll see this little circle showed up around it. That means it's happening vertices. You can also see up here, but the little magnet on the vertices
Caleb White: And I'm just going to drag the center of the pivot to the vertex. I wanted to stick to and let everything go. Now I'm going to fall down. V. Again, you see the little circle little magnet and the vertex and you try the object to the corner of this, the elevator fast. Okay, now
Caleb White: The other, the other way to do this, you know, we're doing this based on the object. You can also do it for faces and vertices as well. So I'm going to show you an example about here. So let me that layer that
Caleb White: Shaft outline to go ahead and click that, again, so it's unlocked and then click it one more time so it's just kind of a wireframe so now we can see our object inside
Caleb White: Now, if I had one pet peeve with Maya. It's that I don't know why, but you can't snap to an object that's on them, at least as far as an almost anybody knows something that I don't
Caleb White: You can't snap to can't snap to an object that is
Caleb White: In that kind of wireframe locked mode.
Caleb White: I don't know why that is.
Brian De Luna: I don't know why they don't like YouTube
Caleb White: Isn't that crazy Brian, then it's one of those things that drives me insane.
Caleb White: So oftentimes you'll see me toggling between that wireframe mode and the locked mode because I know it's a little hard for you to see here, we can also go to x ray, just so you can kind of see inside here.
Caleb White: But yeah, anyway, maybe X rays. Good for this, this, so if you want to go to x ray mode, like we're discussing the other day with Brian, just click on shading here and just take the x ray box. So now I can. I don't use this mode, often, but maybe so we can see better
Caleb White: You can you can turn that on. So what I want to do now is, yeah. So back. I'm back in that
Caleb White: Are locked mode, not the team. Oh, because then I can't snap to the object. So I'm just going to select this face.
Caleb White: And now this is another kind of trick of the same variety. If I want to just, I can just move this face freely. But if I want to snap it to the edge of this box. I can hold down me
Caleb White: And again, now it's vertex snapping and I can just drag along the yellow axes here though. I guess that's the, that's the why.
Caleb White: And I'm going to drag that and when you just hover over the edge of the vertices here.
Caleb White: It'll snap to that one automatically. Now, the beautiful thing is you can do that from across the entire model doesn't even have to be near it. So let's say I want this.
Caleb White: To snap to this thing over here, I can hold down V I can drag this and I can just hover over that vertex and it'll snap to it. So now this object is snap to
Caleb White: You know, to that. So anyway, that's a good trick. The other thing that you should know is that the same thing works with mercy. So
Caleb White: So we were in an object mode, then relate to face mode. Now, what if we hold down right click and you go to Vertex mode.
Caleb White: If I select this vertices, I can snap it to this edge. If I select this word to see I can hold down the snap and just drag. You're just dragging and hovering to step into that edge. I can hold down
Caleb White: On hold on being sent to that edge, do the same thing here. Well done, V just dragging snap hopeless is working for everybody. If it's not working for you, please speak up, because this is something we're going to do nonstop for the next
Caleb White: Rest of your life.
Caleb White: Hold down V snap this guy will down to this guy, right. So I have a little I've just made made this Q tip the box. So I needed to fit it to the box, but I'm just kind of trying to show you how to snap to vertices here so
Caleb White: Once you've done that, um,
Caleb White: Any questions on that because I don't want to. Don't want to move on until I know that people are comfortable doing the snaps with vertices, because I think they're going to be using that non stop.
Caleb White: Maybe one thing I should just say quickly once you've now once I've held down D and he moved my pivot.
Caleb White: Just like Brian was saying, the center pivot tool that's why he made a hotkey for that tool because it's your best friend now. Like if I press Alt, see which is the hotkey we made for center pivot.
Caleb White: It most of the center. If you don't have that set as a hotkey you can be, we can show you how to do that. Or you can just go to modify and you go to center pivot. And actually, if you just go to modify it will show you what the current hotkey is if you have one set
Caleb White: But anyway, that's why we're saying you're going to use center pivot all the time because now that I've moved my my pivot. I don't want to have to drag in a random location.
Caleb White: I would like to drag from the central out of the object again. So I'm just going to press Alt see and it snaps the pivot back to the center.
Brian De Luna: It Kayla more tool. And I guess a break. It's a good place to kind of end
Caleb White: The yeah okay let's maybe let's go ahead and break because I think the next step is actually
Brian De Luna: If you can just show one last tool with Jeff.
Brian De Luna: Because, like, if you're putting divisions in there. It's nice. As the insert edge loop tool, how you can do it on multiple so it like
Caleb White: Yeah, that's a good point.
Caleb White: So, yeah.
Caleb White: Let's go ahead and do that that's actually part of the next step. Anyway, so yeah, the answer absolute tool is, you know, I just was showing you guys how to kind of do that free form so
Caleb White: If we go back here. I'm actually going to turn off extra mode because I find it just, you know, generally annoying.
Caleb White: So let me just go to shading.
Caleb White: I'm going to just take it off and then I'm going to turn off my
Caleb White: Previous kind of geometry there. So insert as a tool is a lot, as we said to tell you add edges to a model.
Caleb White: For exclusion or for proportion or anything. I use it for everything. That's how I also measure distances. I actually use it like the divine curve tool and right out to
Caleb White: But insert edge loops tool. So let's say we want to go ahead and divide this object.
Caleb White: For the three floors that the elevator is going to cover. So if you notice the elevator here is covering
Caleb White: Three different floors and there's a, I think a four foot gap from door to door so so instead of kind of just trying to make that up and then copy and paste it vertically. The best way to do it was asked you to just to divide this thing equally so
Caleb White: Let's hold down at under Object mode again.
Caleb White: We're going to object mode. So hold on, right click, go to
Caleb White: Object mode. If you hold down Shift and right click, that's where insert edge tool lives and instead of clicking on the tool. I'm going to click the little box here. And, like I've said that's your tools settings box.
Caleb White: That's very useful for every tool, you're going to need that for everything you do ever in Maya.
Caleb White: So before I was showing you how to just drag on the edge and place an edge loop where you want
Caleb White: That's very useful. But the much I think in this case since we wanted to buy this thing and to even third that much.
Caleb White: Better way to do that would be to use the multiple edge loops tool. So under maintain position. There's relative distance from edge. So that's the the version I was just
Caleb White: Because equal distance from edge. So this doesn't make so much sense on the square object, but that will make more sense. I'm going to get into her objects, what the relative versus equal distance from edge means
Caleb White: But the much more useful tool that is helpful to us here is multiple edge loops. So when I click on multiple edge loops.
Caleb White: And I use equal multiplier, I can just type in here three, which means I want to insert three edge loops and it will divide them evenly so anywhere on this edge divided evenly and the third. So what that'll do is that's going to tell us where that line. Sorry.
Caleb White: That's going to tell us where this line goes on every level, level. Nope, sorry. It's actually this line here on every level of the the elevator core it's telling us where that line ends up. Okay, that's your even third line so
Caleb White: Let me do that one more time. In case you got lost there. It's on do that. So I'm in object mode.
Caleb White: I'm in Object Mode. I have my optic selected, I'm going to go to shift right click and I'm going to go to Insert, as a tool, but I'm going to open the options with a little square
Caleb White: And instead of relative, which is probably your default setting. You want to go to multiple edge loops and you want to type three
Caleb White: And then just click on one of the long edges of your element yourself, you have something that looks kind of like that.
Caleb White: And we'll, we'll kind of do this when we come back, but I'm actually going to use the same division.
Caleb White: To try to divide it into the, the, what is essentially the thickness between some doors and the floor slab. So I'm actually going to use the same division on each of these thirds
Caleb White: So I'm just going to click on each of these. Well, we're going to come back, but just trying to show you the use of the
Caleb White: Tool here.
But
Caleb White: Yeah, so you should have something that looks like this. Any questions on the edge loop tool that I think that's actually a very, very powerful tool that's what I use for pretty much everything in Maya. Any questions on that, guys.
Yuze Deng: I'm sorry, kill it. Baba question. How do you display the boundary line like the wireframe boundary line because my if you don't select anything. I just shows nothing was it curves on the on the song.
Caleb White: So you're saying there's no wireframe it looks like this.
Yuze Deng: Yeah yeah
Caleb White: Okay, so you can do that in a couple ways. The way I used to do it is if you look at this little tab here there's a there's like five little tabs. I usually use this blue one without lines. That's just showing you that shaded with wireframe outlines. You can also go to shading.
Caleb White: And you can click wireframe on shaded here.
Caleb White: Does that work for you.
Yuze Deng: Yeah, that works.
Caleb White: Great. Yeah, yeah, this. We've talked about this a little bit yesterday, but just for reference. This is how I always work. If I go to someone's computer and their model looks like this.
Caleb White: I usually think that that person is a psycho. And I don't use their computer so
Caleb White: No, I'm just trying to say that I think it's really important that you see the mesh. I just like sometimes if you smooth an object and it's got billions of message because
Caleb White: You don't want to see all of them, but if you're doing clean modeling like really clean modeling like we're saying there's no spare
Caleb White: Edges here messages here. Okay, I have some spare ones here I'll admit it. There's a few spare ones. But my point is, if it's a clean model and you have wireframe on it should look really nice and it should be easy to understand.
Caleb White: So yeah, anyway. So I normally work with Sheldon plus wireframe so sorry. I know that the initial steps are moving a little slow guys but we're going to move a little quicker and the next stage, but maybe we should take a little break. Brian, do you want to take a break, till 930 years over
Brian De Luna: To you.
Caleb White: Yeah, let's do that. I'll pause this recording, and we'll pick up kind of where we left off.
Zheng Gong（Jerome: Sorry.
Caleb White: Yeah, sure. Go ahead, drunk.
Zheng Gong（Jerome: Us continue dividing those smaller tubes into equal wants and yeah you did use the hot box. And how do you repeat the same money you have done for
Caleb White: I said okay so let's say I. That's a good question. So let's say that I am using a tool. Let's say I'm using a tool here.
Caleb White: So I'm actually just, I'm just continuing to click because I'm still in the insert ads of command. But let's say you want to repeat the command.
Caleb White: So let's say I inserted the edge loops and I've accepted the command or some commands exit automatically once you've done it. If you press G.
Caleb White: G is the the the shortcut for repeating a command. So when you press G, it'll open up the same command, you just did. And then you can continue kind of using it.
Caleb White: To kind of ends a command and g kind of repeats a command to me. Those are actually two of the most like useful little shortcuts. I use them all the time.
Caleb White: So let's say you're doing a very repetitive task and you're just using the same command over and over on an object, all of the time I'm using just okay completely command press G. Do it again. Right. Does that help to explain
Caleb White: Yeah, okay.
Zheng Gong（Jerome: So interesting
Caleb White: Answer absorb is actually one of the few commands that will automatically repeat. So if I'm inserting an absolute relatively
Caleb White: You know I can. It won't stop until I press T, it'll just keep and that's good because it wants you to be able to can kind of quickly add
Caleb White: You know, as many as loose as you need. And then when you're done, you press tea or you can press Q, I think, to just go select amount, but I usually use tea because it just ends every command.
Yuze Deng: Is there any anywhere that shows that shows what is our current command is
Caleb White: That's a good question. I think if you look down here at the metal bar I believe it shows you your current check. I go to Insert.
Caleb White: Oh, it's just just blown up below it here. So just under the Mel, Mel. Is your code input which will never use I took a class on it and hated it, though.
Caleb White: But just but if you understand what's going on. You can actually open it up and see all your command history. If you don't need that. But it's kind of like the rhino command bar.
Caleb White: Where it keeps a tab of what's happening. But here, just below that it should say insert edge loop. And it's actually giving you an instruction.
Caleb White: It's and click drag on an edge to insert an edge loop. So yeah, it should, it should do that all the time. Let's see. Let's see if I a good extruded something
Caleb White: Yeah, it does always show you the the tool that's going on here. So now it's giving me instructions about I actually have never noticed that. That's fascinating. So yeah, now
Grace he: Actually, there is a box on the left side just
Grace he: Just
Grace he: Be nice.
Grace he: Scare
Grace he: The middle one.
Caleb White: middle one.
Yeah.
Grace he: No.
Caleb White: No, no, this one.
Grace he: Yeah, yeah. Correct. Yeah.
Caleb White: Last tool used. Oh, so if you click that, that just oh ok
Grace he: That is current tool.
Caleb White: Got it, got it, got it, got it.
Grace he: Okay, yeah. Yeah, well,
Caleb White: I didn't know that either. Thank you, Chris.
Caleb White: That's that's the funny thing about my you spend so much time so much time using it and you get comfortable and just using it the way you use it like
Caleb White: I'm sure that between Brian Grayson, for we probably have my pretty well covered, but I think each of us has a partial vision of Maya and so
Caleb White: Yeah, yeah. Great. Alright guys, let's go ahead and take a little break. So we'll reconvene at 930 and I'm just going to get recording
Caleb White: Okay, yeah. So to snap to vertex, just as a refresher from that question.
Caleb White: You don't need to press Command V or anything like that. It's so if I'm, for instance, let me select this courtesy.
Caleb White: And let's say I want to snap it to this one over here. All I do is when you press v, you'll see that there's a circle that shows up around your pivot.
Caleb White: And then there's a little highlights the snap up here, just hold down V and I drive this yellow axes until it snaps and then just hover over this for to see. You don't need to press anything else, just when you press the V whatever you're dragging will snap to a vertex
Caleb White: Now, if you're if you're asking about moving the pivot. That's a little different. So
Caleb White: Here's my here's my pivot. That's not command V. It would be so when I hold down D. That's just how to move the pivot in general.
Caleb White: But when I hold down D and then v i can snap the pivot to vertices
Caleb White: Does that answer your question.
RUOCHEN GAO: Yeah, I guess I tried like this.
RUOCHEN GAO: It seems like he doesn't open anything
Caleb White: Vs. It shouldn't open anything but when you press v. Does it highlight this little snap up here.
Caleb White: No, no.
Caleb White: Huh. Maybe it's, it could be that your default settings are different. You can also click this little snap here and then
Caleb White: If I hold down D whenever I drag this, it'll move and snap to verb vertices as well. So if you don't want to. If that's not working for you try just clicking the snap.
RUOCHEN GAO: OK.
RUOCHEN GAO: I will check my workflow.
RUOCHEN GAO: Yeah, I would.
RUOCHEN GAO: Yeah, it's working. If I click that on
Caleb White: Okay, maybe it's, yeah. It could be your, your hotkey is different. So if you want to change that. Do you think Brian. That's what it is.
Brian De Luna: Try, try. Is your cat walks on
Caleb White: Good point.
Caleb White: Cat blocks that on your
Brian De Luna: Tablet off.
RUOCHEN GAO: Oh,
Caleb White: Yeah.
Brian De Luna: Don't want to have catalog selected catalog specific or command in my own for everything.
Right.
Caleb White: So it should, it should work. If that's not working, then maybe we should try. Yeah, I think it could be a shortcut, or sorry, a hotkey issue.
Caleb White: But then again, yeah, you can always access the snaps at the top.
Caleb White: This little menu here.
Brian De Luna: And when we do a breakout room. Later, we can share screen and then I can even try. If your Internets fast enough. I can try just the remote and see if it works.
Caleb White: I've been doing that with people and it seems to work really well.
Brian De Luna: Yeah, depends on some people, it works for some people.
Caleb White: Right, based on your
Brian De Luna: V should work. And then one of the things will show. Maybe not today. But tomorrow, we can show how to delete user preferences occasion. Yeah.
Caleb White: That's a good point. Selected
Brian De Luna: That can come on, maybe that comes on Monday next week. But for now, I guess. Yeah, just keep using that
Caleb White: Just a good point.
Brian De Luna: trapped on
Caleb White: My can be a little bit fickle and sometimes you have to reset her started over
Caleb White: Okay, so let's pick up where we left off, guys.
Caleb White: This is kind of
Caleb White: I guess just to give you kind of map of where we're going. So we're kind of subdividing this thing into levels now.
Caleb White: And all the only reason we're really doing that is to give us a sense of the proportions of the cab compared to the overall cavity of the elevator. So what I'm gonna do is I'm just going to build a series of boxes so that we can
Caleb White: So that we can give kind of know that we have the right proportion and one of those boxes will we're going to develop into the actual elevator cab. So there's some steps here that we've already covered some tools that we've already covered
Caleb White: Such as insert edge loops extruded all those things. There's some new tools they want to expose you to to do that though, which are going to be great. That will help us out.
Caleb White: Then the next step beyond that. We'll see how far we get I'm imagining, we can get to about this area. What we're trying to do is we want you to understand how to go from proportion and form of this larger kind of object.
Caleb White: To next to the level of detail because, in my mind, if I were you. And I open this image for the first time. And I said, okay, where to start. And I just start modeling this bracket.
Caleb White: I will never understand how that piece relates to the overall in the way that of like its size and proportion, right. So, in my mind, it's best for us to work from the cab.
Caleb White: And then we'll kind of develop the details necessary to detail the cab, and then we'll develop kind of the details necessary to build the rail, we probably won't get to all of that.
Caleb White: Today, and then beyond that, guys. It's really just about picking certain elements.
Caleb White: To kind of focus on and then bringing more and more detail into each of these components. So it's, again, just like Brian said, Baby steps just pick one at a time, but we're kind of setting up the framework to build that detail. So that's where we are now. Let's, let's do that. So,
Caleb White: I have this object here, which I've added this kind of equidistant
Caleb White: Divisions and those are based on the floor heights. So that's just that I understand where the floor sits on each level and where the cab is going to sit. So next thing I want to build is actually just an elevator cab that's roughly the right dimensions.
Caleb White: And I'm going to then place that in the correct positioning here and then we'll pull that out and we'll start to
Caleb White: Will start to detail that so to get an actual elevator cab. I think the best place to start. Here we're going to try to roughly follow. Actually, that's not the way I want to do this. Let's do this.
Caleb White: Okay, let me look into my drawings. So yeah, this is again a process of just being a little bit investigative and kind of looking at each drawing and figuring out
Caleb White: Quotes dimensions, based on that. Okay, so maybe this will give us the height of the car.
Caleb White: Which I believe in.
Caleb White: Should be there somewhere. And let me just go through this
Caleb White: All of these guys found this before we started.
Caleb White: Actually, I don't know that it's going to give me the personalized dimension of the car. I think I remember figuring out before that there's a four foot gap from car to car. Okay, so let's do that. Let's just work on that.
Caleb White: Okay. So one way that I often do things.
Caleb White: If there's two ways that you can kind of measure and dimensions and
Caleb White: I want to, I kind of showed you one way, one way, which is to be honest, the way that I always do things is I actually build an object.
Caleb White: And I just using the editor to do this. Just a little, just watch me for a second. And I'll just say I want to make a four foot high auger. I'll just set that to four feet and then I'll just place it and then I use this as a measuring tool. Basically, this is probably not like the most
Caleb White: Sophisticated sophisticated way of doing this, but it works really well. So I didn't want. But there's another way, if you just want to measure or, you know, we kind of used
Caleb White: Insert as evenly divided us, but we don't actually know the distance from this point to this point. So there is a measure tool.
Caleb White: In
Caleb White: Oh, sorry.
Caleb White: There is a measure tool in Maya. So if we go to create measure tool distance tool.
Caleb White: I don't use this a lot, but this is sometimes a really good way to just check a dimension in their model. So once you click this tool.
Caleb White: If same as all the others like the pivot and the snapping. If I just hold down V and I click here and then still holding down below. I click here, it's going to give me the dimension from this height from this level to this level, which apparently has about 9.2 feet.
Caleb White: So that gives us a sense of how much space we have there. And then we're going to create to kind of the little
Caleb White: Kind of little, little buffer space. So anyway, I'm just going to delete that. But that is a way to measure to take a measurement within Maya.
Caleb White: Okay. So actually, let's just quickly look at this and maybe we can do the same thing here. You don't need to worry about this. Just let me do this for a moment. So create measure tool distance tool. My whole down V like here.
Caleb White: Like here that's going to tell me four feet. Okay, so four feet of this
Caleb White: That doesn't seem right.
Caleb White: To me because four feet minus. What's the hottest campus. To be honest, I probably wasn't
Weihang Huang (kevin): Even on. Can I, yeah, I have a questions about later.
Weihang Huang (kevin): At the height of the box.
Weihang Huang (kevin): Is it 50
Caleb White: Yes, I did make this overall height 50 and originally I got my
I'm
Weihang Huang (kevin): Okay, but when I in China to just measure the distance between two points. It's shows like 12.5
Caleb White: Okay, let me try.
Create
Caleb White: Measure to
Caleb White: Distance.
Weihang Huang (kevin): I know I mean like when you separate into like three same smaller plus six.
Caleb White: Right. Okay. One thing that might be going on here. If this. There's one thing we haven't talked about
Caleb White: And this is actually something that we've mentioned maybe yesterday it was about the history of an object so
Caleb White: One thing I would try doing so I'm going to select actually both these objects and I'm actually going to
Caleb White: Freeze transformations. That's basically me removing the transformation history and I'm also going to delete the history of the object because that can also affect the the dimensions, we're getting. So let me just do that really quick here. So if I go to modify
Caleb White: Freeze transformations. You'll notice that all of these transformations here have been removed, and then I'm also going to go to edit, delete all by type history. So it's actually deleting all the history of the object as well.
Caleb White: Now what that means that also is if I go to my poly cube. There's no a transformation history for the height and dimension. But if I go and measure it. Now, modify, or sorry, create measure tools distance tool.
Caleb White: So actually, it's 36 feet high. So I think what I was doing here was just splitting it up for nets piling up feet. I actually think that maybe I didn't do this from original and feet.
Caleb White: But it's 36 units high basically and then divided by three would be what 13 something so 12 if you're getting a 12 something measurement, that's probably right. Actually, so let me just check this quickly and see what I have here, modify. So what we'll do is we'll just make this a
Caleb White: I'll show you in just one second. We'll just make this a modify
Caleb White: Or sorry, create mental tools.
Brian De Luna: I think it's really good to
Brian De Luna: I use the grid a lot. I kind of set that up to a certain dimension and that I can look at and elevation or planets kind of unit.
Caleb White: That's a good point. Yeah. That's a good point. And I actually don't use the grid quite as much but the, you know, if you're referencing things from the grid, we know
Caleb White: That, you know, for instance, if this is in feet, we would know that that's one foot on the grid. And then you can snap to the grid and you would know this is, you know,
Brian De Luna: 123 change the color so that like every 10th is like blue. So, you know, like seconds of 10 if you're working
Caleb White: Yeah, that's a good point. That's a good point. And a lot of people snap to the grid. I know a lot. Like for instance, maybe people in Rhino do that a lot to snap to the grid.
Caleb White: To be able to measure things
Caleb White: Precisely, I think, for some reason, I've always kind of just worked with objects and and snapping grid.
Caleb White: Anyway, don't worry so much about the height of this thing. What we're going to do is make our Cap Height and we're just going to set that as a standard. So, don't, don't worry about that too much.
Caleb White: But the main point of me showing you this was just to show you that you can actually use a measuring tool to specifically measure from Vertex. Vertex. So as long as you have something that's pretty close here.
Caleb White: Will be fine. So let's go ahead and create our cab, and we'll move to the next step. So I'm actually going to take this object here and I'm gonna remember
Caleb White: He had kind of let me just, I'm going to delete this one I'm going to take this
Caleb White: The core that we had there already. And I'm just going to divide that one because that's going to be a wireframe without need to have those so
Caleb White: Apologies. You might have two objects sitting on top of each other. So I'm going to select this object that you should have here. This was on that.
Caleb White: The new layer that you made that you locked, so just unlock that, so remember the team is kind of a transparent friend or is locked
Caleb White: But you can still snap the vertices just unlock that so select that.
Caleb White: Hold down right click Go to Object Mode, hold down shift right click and we're going to open insert edge tool. We're just going to be that process. One more time. So we're going to open the options here. Click on multiple edge loops. We're going to type in three
Caleb White: And then I'm just going to click on the edge here. All right, now I'm going to close that command.
Caleb White: And then what we'll do is we'll just go back to the Channel Box and I'm just going to lock this. So this is going to be our, our new framework. So if you can see them in the next steps. This is what we're going to reference as we build our, our cab.
Caleb White: OK, now let's go ahead and make our elevator kept this kind of seven here. So I'm just going to create a new cube. I'm just going to drag and place it right in front here.
Caleb White: And then as we did before. If you remember, you can't stop to the wireframe for some reason. So I'm actually just going to switch that to locked and then whatever I do is select the q
Caleb White: If you're not seeing your pivot. I'm going to press w that my my pivot will show up. That's the move tool.
Caleb White: And then I'm going to do the same process that we did before, but now I'm going to snap it just to this spot here. Oh, actually, before I do that, let's do this. Let's go ahead and set the dimensions of our cube. So once you have your cube selected.
Caleb White: Click on your attribute and Enter. Remember, that's the third tab here.
Caleb White: And then if you click on should be the third tab in the Attribute Editor. There should be something called poly cube with a number. And that's going to be where your dimensions are so if you remember our with was 9.8 our depth was seven.
Caleb White: And then for the height. I'm going to set it at eight. Okay, so that is the dimensions of our cab. If you notice, it's actually running the other direction because I rotated it. So let me just swap the width and the depth. So we'll make the width seven and we'll make the depth 920
Caleb White: So in case you didn't follow that all we've done here. I'm just going to quickly do it again for whoever didn't see that. We're just going to make a Q doesn't really matter where just make a queue.
Caleb White: And then your Attribute Editor. So when you select the Q Attribute Editor.
Caleb White: Just click on
Caleb White: Seven for the height. We're going to say eight feet tall. A little hyper elevator. But let's just roll with eight feet and then for the depth. We're going to do 9.8
Caleb White: So you should have a cab that will fit this exact dimension and now we kind of have a standardized. So I'm gonna, I'm going to delete this one because I made it twice.
Caleb White: And he said, have this
Caleb White: OK, so now that we have that. Let's go ahead and move that into position. So if you remember, actually, let me just quickly adjust that. I think the height is too much. Let's, let's make it seven. So what I'm gonna do is go back to my apologies.
Caleb White: I'm just gonna make
Caleb White: Sure that was fine.
Caleb White: And then, okay.
Sorry.
Caleb White: Okay, great. So now I have my can use the tool that we've already used so under the move tool. I'm going to press D. And then I'm going to press v. And now I'm going to drag my pivot to this corner.
Caleb White: And then I met him. It is on that bottom right corner. I'm going to snap it to this top edge loop that we've made here at the top of the third episode that we've made here.
Caleb White: So I just pulled down V and I can just drag from this corner to this corner.
Caleb White: And now.
Caleb White: We have our what will become our elevator car sitting within a frame. So now I'm going to go back to my Channel Box and I'm actually going to unlock this guy.
Caleb White: Now what I want you to do, you should have a cube, this kind of inside of the frame that we've set up all I'm going to do is select both
Caleb White: So in case we haven't mentioned that you just hold down Shift and you can click on one opportunities. Hold on. Shift and click on the other, just like both just press Control D Control D remembers duplicates.
Caleb White: And now I'm going to move it to the side here. Now I'm going to do something that just shows you another way to use the pivot tool. So with this still selected.
Caleb White: I'm going to hold down D and I'm going to fold down V and I'm going to move that pivot over here. Now, the reason is because I want to move this object by the same increment by the same spacing that's
Caleb White: The other between the other two objects. So now that I've moved my pivot. Remember that was D and B, C and D. I just dragged my pivot over here.
Caleb White: Now that I've moved my pivot. I can hold down V and I can just drag this guy until the pivots on this corner.
Caleb White: That's how we all know that the space. And here it is here. It doesn't really matter. But the point is, is that I use that tool, all of the time to keep like an even spacing between objects. So let me just do that again for me really quick. In case you got lost.
Caleb White: My recent or my ticket, just in case. So it's kind of like how you'd be seeing that. So what all I've done is I've selected my object.
Caleb White: I hold down Shift I select the other object, just to make sure I have the elevator camping and the frame selected I type Control D to duplicate it
Caleb White: Press W for move. Now I'm going to hold down D, which remember is just our pivot editor, so I can put this anywhere.
Caleb White: But now I'm going to hold down D and I'm going to hold down to the V and you're going to see that again, the little circle shows up around the pivot and the pivot Snap is on. I'm just going to snap that to this top right corner.
Caleb White: Now I let go. And now my pivot. I can, again, I can just drag this wherever I want. But I'm going to hold down and be and drive the yellow arm of the Pinot until the snaps to this corner, and now I know that those two are evenly spaced.
Caleb White: Should be easy enough by young that can be kind of confusing the first time you're moving the pivot around and trying to the
Yuze Deng: Question, so
Yuze Deng: I was trying to resize the little cap on top, but then
Yuze Deng: When I was adjusting to hightail it can shoot a two sided
Caleb White: extruded to side.
Yuze Deng: Like if you type eight is gonna like normally is going to automatically adjust aside to eight feet, but then for my, I think it turns to like my tea or something like that.
Caleb White: Interesting. So you're saying if you go to the Attribute Editor. Oh, I can't. I've already modified this object. Let me look at this one. You're saying here if you tie the height as seven is it going, it's you said it's doubling it
Yuze Deng: Yeah, it's it's going like I'm double side, you know, like can mine extra to double sided is doing, like, stuff like that.
Caleb White: And you show you mind sharing your screen.
Caleb White: To show. I'm sorry. It just would be easier to see. Let me just enable sharing for you.
Caleb White: This is good, though. In case anybody else is having this problem. Let's see it.
Caleb White: I don't
Yuze Deng: See that as it twice.
Yuze Deng: Did you catch that.
I knew
Yuze Deng: Like does
Caleb White: Interesting.
Yuze Deng: So it's actually showing pretty tall.
Yuze Deng: Taller than eight feet. I think
Brian De Luna: You give me a
Brian De Luna: starting a new box.
Caleb White: Yeah, make a new box for us. Let's say it couldn't be that your other object is just not that tall.
Caleb White: Oh no you're right. Okay, yeah, go ahead and type in seven
Caleb White: Puts
Caleb White: Yeah, there you don't know now on the width.
Caleb White: Go ahead and make the width seven as well and then make the depth 9.8
Caleb White: Yeah.
Caleb White: Jane, you just said in the comments. Is it scaled. I think that's exactly what happened. Because again, remember that my have repeats history. So if you scale that object in the z. And then you change the dimension.
Caleb White: It's going to change the dimension, but then it's going to scale it again. So I think that's correct. I think it's just something in the history of the object at some point you've scaled it in the z.
Caleb White: That's a weird thing to about objects.
Caleb White: Once they've you've modified their history is that it'll keep compounding all of the things that have been in the objects. History
Caleb White: So when that happens just, you know, start a new object to that. I think Brian's answer is always right, select Delete and do it again, as though
Caleb White: I mean guys, this happens to me all the time to all have some weird object that's doing something and I could trace down the history and figure out what's going on. Or I could just start again. So
Caleb White: All right. Anyway yeah no good. Good question, though, because that's that's a weird thing that will happen to you sometimes is that the history of an object will be changing.
Caleb White: It'll be giving you an on desirable results.
Caleb White: OK, so now that we have that we should have your, your new frame over here. And that wouldn't get to the next kind of finally gets the next stage. So what I'm going to do is I'm gonna go back to the Channel Box.
Caleb White: That's where I control my layers. And if you remember I had this this object on another layer. I'm going to put that on the t, which is like that wireframe
Caleb White: So you can see our own data account that's sitting within the frame. So again, the frames kind of always there as a reference. But then we have the Carib
Caleb White: Sitting within that. OK, now let's move to the next step. Find that we can do that. So the next step is this
Yichi Zhang: Was Lori. Hello.
Yes.
Yichi Zhang: I can see your screen right now.
Caleb White: You cannot see my
Yichi Zhang: Screen Sharing me
Yichi Zhang: Joy.
Yichi Zhang: Yeah.
Yichi Zhang: No still can see
Caleb White: Can others see my screen.
Yichi Zhang: I believe is his mouth.
Jiaying Zhang: It see it.
Caleb White: Yeah, okay.
Caleb White: Maybe if you want to try to rejoin the meeting.
Caleb White: I can
Caleb White: Also again or distribute the recording. But try your best. Maybe you can rejoin the meeting and I can. You can see it as long as everybody else can see it. We should, yeah.
Yichi Zhang: Yeah, sorry, sorry.
Caleb White: No problem. No problem. Okay, so, um,
Caleb White: Alright so what we're going to do here is actually pretty simple. I just want to walk you through real quickly. We're going to essentially add the opening for the door and the interior of the cab on the inside.
Caleb White: So we're going to, there's, there's a couple of ways you could do this. But the way that I want to show you how to do it is, first we're going to add loops and we're going to
Caleb White: Scale it appropriately for the opening of the door. And then we're going to add kind of the interior surface and then we're going to, I'm going to show you some tools to connect the exterior service to the interior surface through the door opening so. Alright, so first
Caleb White: The first thing that we should do is think about kind of the floor cab be the highest on what will be the floor of the elevator cab and the ceiling on the elevator cab, um,
Caleb White: So I think what I did last time I kind of estimated from this, but I think what I did was pretty much make it about a foot, which is actually probably a little bit deep, but let's just take a look here. So I'm just going to quickly measure this guy.
Caleb White: I, to be honest, I probably estimated it from the image oh point seven five. Okay, so that's that's actually maybe that's from the drawing.
Caleb White: As best I can. I'm trying to follow the information I have five he is pretty close. So, um,
Caleb White: What we're gonna do
Yichi Zhang: See right now. Thanks.
Caleb White: Okay, good, good.
Caleb White: Glad that you're back. Okay.
Caleb White: All right, so yeah.
Caleb White: One is we need to establish the floor right in the ceiling height which will be point seven five. The other thing we need to do is establish the door with which is for
Caleb White: That's from the type of elevator I selected on the on the website. It's a four foot wide door. Actually, I think this one's three, but the new one. I just thought this for
Caleb White: So again, we can do this in a couple different ways. One way I'm going to do it is I'm actually just going to create a new volume. So I'm actually just going to create a new a brand new cube and basically just making a four foot by four foot by four foot cube.
Caleb White: So just like we've done before. I've made the cube.
Caleb White: I'm going to go to my Attribute Editor.
Caleb White: And I'm going to make it just, this is just going to be kind of a measuring tool From inside just made the width, height and depth four feet.
Caleb White: So I'm going to select that corner object or the corner of the object. They're going to snap it to the corner of this object.
Caleb White: And then what I'm also going to do is since this is kind of a square. I'm going to move this to the inside.
Caleb White: By probably about a foot. So if you remember we were just discussing. So two things I've just done. Let me just
Caleb White: quickly explain that one time I've created a cute just set the width and height from the depths of four feet and I snapped that to this corner. The next thing I'm going to do is this.
Caleb White: A foot off of the edge. So I'm going to go to my tool settings here.
Caleb White: And I'm going to go to step snap relative and I'm in the move tool. So that's W to get to the move tool, go to your tool settings here.
Caleb White: And then under step snap like relative and I'm just going to click this to present this to one. So now whenever I move it, it's going to be one unit off of the left side of the the elevator cap so that'll be a foot off of the left side though that are
Caleb White: Hopefully you fall, you're following me. I'm going to all repeat this as soon as I'm done here. But then the next images on the surface, actually, to point seven five. Just for reference.
Caleb White: And then I'm going to move this up by point seven five.
Caleb White: And then the next thing and I'll repeat all of this guy. So forget it was just, you can watch me then I'll do it again.
Caleb White: So next thing I'm gonna do is I'm going to select the top face. So it's a little hard to see, but I'm flipping the top face of that box. Maybe they'll go to x ray mode. So you can see that
Caleb White: And then I'm going to snap the top piece of that box by holding v. I'm going to snap it to the top of the elevator cab like that.
Caleb White: OK, and now I still have my step snap on it said some point seven five. And so I'm just going to drag it down. So what I've done is I've created kind of a
Caleb White: I'm going to turn off my x ray per second. Here I've created kind of just a measuring tool for me to place the edge loops for the opening for the door.
Caleb White: So again, if you if you've missed, not the first time just follow with me now. Okay, I'm going to go through those steps again and I'm trying to speed up a little bit here guys, we can get a little faster.
Caleb White: I'm going to make the new cube just going to drag on the the base. And if you hold Shift it will make all the dimensions. The same, by the way.
Caleb White: And then under my Attribute Editor. Remember, that's the third time here. They're actually under your calling, huge settings that should be the third tab in there and I'm just going to set the width for the height at four and the depth at four. OK.
Caleb White: And now let me delete my old one here.
Caleb White: Yes, go ahead.
youyiqi: I always had the pivotal
youyiqi: Point.
Caleb White: How do you set them pivot to the midpoint.
Caleb White: Yeah, so that's going to be your center pivot. So as we've said
Caleb White: You can either use the hotkey which we've created which is all see if you've done that with us. If you haven't, so let's say I've moved my pivot over here somewhere.
Caleb White: If you haven't done that you just go to modify and then click center pivot.
Caleb White: So you're going to be doing that a lot. So, it is recommended. We can show you again, just a minute here. How to set the hotkey but let's say your pivots moved anywhere I can always press Alt, see, and it will reset for my pivot to the central out of the object. Okay.
Caleb White: All right, so if you're following along. We've made a four by four by four cube. That's our measuring stick
Caleb White: I'm going to hold down D. I'm going to hold down v. And when I moved my pin it to the corner of this object, then I'm going to hold down V and I'm going to drag that to the corner of this object.
Caleb White: Press F heels. Amen. Now I'm going to go to by just going to go to my move like press tell you to go into the Move Tool and I'm going to open my tools things which is the fourth from the left here my Tool Settings and I'm going to turn my step snap on and put it on relative
Caleb White: And I'm going to move this this box one in the relative box to type one and I'm going to move it one foot from the left side of the cab, and then I'm going to type point 7.75 that's our Florida.
Caleb White: And I'm going to move that vertically point seven five.
Caleb White: Okay. Then the last step that we were just discussing, let me put on my ex review. So you can see, is I'm going to select the top face of this object. Oops, sorry object.
Caleb White: This will happen from time to time left face of my measuring stick and I'm going to hold down v. And I'm just going to drag in that upward direction to snap to the top vertices here. Okay.
Caleb White: And then the last step our step Snap is still on were using the Move Tool and it still set 2.75 and I'm just going to drag that down so that it moves the top of our measuring stick point seven five feet down from the roof of the cab.
Caleb White: Does everybody have that
Caleb White: PHONE WITH ME. If you're stuck, please let me know. Or if you want me to show anything that I've just done. One more time.
Linxuan (Roise): I have a question.
Caleb White: Sure.
Linxuan (Roise): Oh, can I choose to top face of the small part and not for you.
Caleb White: Is it. Oh, I see. Is it, you're probably selecting this this one so
Linxuan (Roise): This small part the top phase of the small part
Caleb White: Right. Okay, so just to select that. Let me just so if you have this object already selected here. All you do is hold down right click and you go to the face mode so
Caleb White: That's that bottom one here and now that you're in face mode. If you hover over any of these faces that will turn red. Just click on the top one here.
Caleb White: If you're having trouble selecting it, it might be because it's sitting inside of this object.
Caleb White: If that's the case, you can actually are a little measuring stick thing that I actually zoom in here when I want to select something, but we can actually move it out.
Caleb White: Also, if you would like to be able to select it easier. But once you have that object selected.
Caleb White: Just hold down right click and then go to face mode. That's the bottom mode there. And then once you're in face mode you can select, you should be able to click on any one of these faces. Okay. God is that working for you.
Linxuan (Roise): After I snapped the face, so I need to press the leap and
Caleb White: Oh, yes.
Caleb White: Yes. If you select the face, hold down V and just dragging the up direction and you can snap to the this edge here.
Caleb White: So the reason we're doing that is that snap to the top of the box. I'm going to turn off x ray. I think it's confusing right now. So yeah, once I have that object or the face selected just hold down V and drag the pivot, up until you snap to the top of the elevator cab.
Linxuan (Roise): OK. OK.
Caleb White: And then the next step. If you already have your step snaps so set up, you could just set it to relative should be at point seven five.
Caleb White: We'll just move that
Caleb White: Down one unit. So that's point seven five down from the top. You got that.
Linxuan (Roise): Yes, I'm here.
Caleb White: Okay, good.
Linxuan (Roise): Thank you.
Caleb White: Yep, no problem.
Caleb White: Alright, so now that we have that hopefully everyone's here. If there's no other questions. I'll move on. What we're gonna do is we're going to use our measuring stick to cut this polygon to make the opening for the door. Okay.
Caleb White: So if you remember Bonus points for anyone who's been said, How are we going to add some edge loops. Okay, I just sent it. Nevermind. I was going to get bonus points and they're not real points. They're just my opinion points. But what we're gonna do is
Caleb White: We're going to add edge loops to cut the object at that point and this will use kind of all the commands that we've already kind of learned today.
Caleb White: So with it selected, I'm going to shift and right click and I'm going to go to insert edge loops.
Caleb White: And what I'm going to do is actually don't need to equal multiplier. You can leave it on if you want. But what I'm going to do is just take relative distance from so just click on that.
Caleb White: And then once that's selected. I'll do this again. So if you're if you just want to watch. First, guys. I'll do it again and you can follow along. So I'm going to insert an edge loop.
Caleb White: To the right of our opening and I'm going to insert an edge to the left of our opening here. OK. Now, once I've done that they will have to edge loops there.
Caleb White: Oh, actually, I might as well go ahead and insert the others as well. So I'm going to press G to repeat my command. I'm going to insert an edge loop above the door and I'm inserting blue polo the door now.
Caleb White: Now that we've done that, we have our measuring stick. So what we can do, just to
Caleb White: Make it clean and perfect we're going to select this whole edge loop that we just inserted and we're going to snap it
Caleb White: To the edge of this box. So everyone just watch with Me first and then we'll do it together. Because I think this part can be a little confusing.
Caleb White: One thing I didn't mention with absolutes. That's really handy and really literally I use it all the time is, you have the ability to select the whole edge loop at once.
Caleb White: So if I go to my Edge mode. So again, you have the object selected hold down right click and you go to Edge mode.
Caleb White: If I click on one part of this edge loop, as long as it's a complete edge loop. And it's a clean manifold mesh, which will actually talk about more in the future, but
Caleb White: As long as it's a clean machine. It's a complete edge loop, I should be able to double click it and it will select the whole as loop.
Caleb White: That is a lifesaver and will save you so much time in your life. I've probably gained hours of sleep from that functionality of mine.
Caleb White: So just to recap that I'm going to go through all of us again guys so just keep watching me and we'll do this all again together. So once I put in my edge loop I can double click that edge loop and re select it and what I'm going to do is press W.
Caleb White: And then I'm actually going to just hold on Wii and Wii to move my pivot to this corner the top corner of this edge loop. And I'm going to hold down movie.
Caleb White: And I'm going to drag this to until it snaps to the edge of a little measuring stick. So this may seem a little convoluted. But that's my way of easily marking things out on the model and measuring it.
Caleb White: So that I know that this opening is four feet wide. It's one foot from the left of the cab. It's point seven five feet from the top and the bottom
Caleb White: So I'm going to quickly do that to the other ones, but we're going to do this all together again. So don't worry about calling me here.
Caleb White: So I've done that one. I'm going to double click this edge loop press W, hold down V and drag that's gonna snap to that point, double click this one. Hold on, w or the press W, hold down V drag and snap to snap, snap, snap. Oh.
Caleb White: And it will start to that point. So that's our goal. Okay. And once we've done that watch you get rid of our measuring stick but um
Caleb White: Let's, let's do that again it all together. Okay, so I'm going to go back a few steps here.
Caleb White: Before I've inserted edge loops and I'm actually going to show you maybe just a faster cleaner way of doing it, while we're doing this, but that was the, the overall idea so
Caleb White: You should all have something like this. You have your measuring stick kind of thing in there and we have the elevator camera. So right click on the elevator can go to Edge mode or no, I'm sorry. Go to Object mode.
Caleb White: Now that will have the object selected hold down shift right click and you're going to go into insert absolute tool you can open the options. If you want if you're if you saw multiple absolutes like to put on the relative distance from
Caleb White: And what I'm going to do is I'm going to insert an edge loop.
Caleb White: Here to the right of this box and then I'm just actually this I'm doing a slightly different way. This time, so I'm going to press W.
Caleb White: And now that absolute is still selected so I can just hold on V and just drag this guy until it snaps to the right edge of our measuring stick is. Everyone follow that.
Caleb White: And we're going to do this process again for the four sides of the measuring stick are measuring box. Okay, so let's do that again. In case you got lost. So I'm going to press G to insert edge loop. I'm going to click on this vertical edge loops and now I'm inserting a look in this direction.
Caleb White: I'm going to press W for move the edge loop is still selected.
Caleb White: And I'm going to hold down v. And while holding down v. I'm going to drive the vertical pivot till it snaps to the top of our little measuring stick box.
Caleb White: It's not working. Let me do it again. From this view will down the drain. Drag until it snaps to the top of the box. Okay, I'm going to do that again. So press G.
Caleb White: When I drag on these vertical badges until it makes an edge loop while it's still selected I fragmented, it still select I'm going to press W for the move tool.
Caleb White: Hold down V and drag that until it snaps to the bottom of our measurement barks are ready. The same process on the left side. So I'm going to press G to repeat the command.
Caleb White: G and I'm going to drag on the left side of the box here, and then I'm going to press W while loop is still selected a hold down the to snap to vertex and I'm going to drag that to the left side of the box. So you should have something that looks like this.
Caleb White: If I deleted my little measuring box. Now you should have a cube.
Caleb White: That will become our elevator cab with for athletes that have been drawn and they they should be aligned to our little measuring box here. I'm going to give you guys a minute to catch up with that. If anybody has questions, please ask
Caleb White: I know some people, it looks like they're dropping other meeting and rejoining so I'm not sure.
Zheng Gong（Jerome: I don't know how to how you a highly to and we show
Caleb White: Hide the cube.
Zheng Gong（Jerome: Yeah, the small club you use to
Zheng Gong（Jerome: For measuring
Caleb White: The height it
Did you
Zheng Gong（Jerome: Yeah, I, I just didn't see some coin and
Caleb White: Are you talking about talking about
Caleb White: This guy this larger frame.
Zheng Gong（Jerome: On know the small one.
Caleb White: Sorry, I'm a little confused. So how to hide it. Like, you don't want to show this cube.
Zheng Gong（Jerome: Yeah.
Caleb White: I didn't hide the cube, the cube should be there by I'm going to delete it at some point. That's all.
Zheng Gong（Jerome: Oh,
Caleb White: You were only using we're only using this cube initially to to to measure off of. So you should have the queue here. Do you have this. Do you have the larger cube with the edge loops.
Zheng Gong（Jerome: Yes, yes.
Caleb White: Okay, good, good.
Caleb White: Okay. Just, just wait there then. All right, I'm just going to give everybody a minute to catch up. I think a couple people are still going from what I can see
Caleb White: Everybody stock is everybody kind of roughly here.
Yuze Deng: A little question.
Yuze Deng: For her, I said the surface. I'm trying to snap it to the to the outside surface, but it still kind of moves.
Yuze Deng: As the distance that we set up, which is point seven five.
But do I
Yuze Deng: You know, like snow.
Caleb White: Or use
Caleb White: The cube is not in the right spot. Are you saying your envelope is not in the right spot.
Yuze Deng: To ash lava is now on the rest
Caleb White: Okay, so sometimes what happens
Caleb White: Just take a look and check sometimes what happens is that you're actually snapping to a courtesy that's behind
Caleb White: So what I would actually suggest doing is just D select everything like let's say in my edge loop. Whoops. Let's say my edge loop is like over here somewhere.
Caleb White: Also by the way my step Snap is still on. So some of you that might be confusing you if you're trying to move it might be moving based on the step snap and not the snap of the vertices. So actually I'm going to turn this off.
Caleb White: Just because it's a little confusing for me sometimes. So I'm going to just let's say that I wanted to adjust this guy. There's no steps app on just check that under tools.
Caleb White: Now I'm going to double click that edge so I can select the whole actually
Caleb White: I'm going to press W for move and then using the correct it. Just make sure you're driving the correct axes. Hold on, V drag this axes and then just hover over this edge and then
Caleb White: Snap there. It's possible that you're snapping to another mercy somewhere else in the model, or I, my guess is that you're stuck. Snap is actually off, it's a it's making you slightly off.
Caleb White: Is does that work.
Yuze Deng: For you.
Yuze Deng: So this, this inner tube should be like sticking out a little bit just to
Caleb White: Worry about this, to be honest, guys, we're actually going to delete this this view.
Caleb White: Eventually, so don't don't worry we're going to delete this guy, this is actually just aren't measuring. Cool.
Caleb White: So you don't need to worry about that as long as it's in the roughly the right position as far as, you know, as far as this plane as long as it's in the right spot there. Don't worry about where it is in this direction. It's just a reference tool.
Linxuan (Roise): I have a question. Can you show me again how to move to the eye on the box.
Caleb White: Sure to move one of these envelopes.
Caleb White: Yes. You just need to move it.
Linxuan (Roise): Um, what
Caleb White: You said you wanted to know how to move it. Correct. Yep.
Linxuan (Roise): I can move it.
Caleb White: Okay, yeah. So when you have your object selected. Just hold on, right click and go to edge.
Caleb White: And now that you're an Edge mode you can select any one of these edges. But what I'm going to do is I'm just going to double click that, so that it selects a full edge loop.
Caleb White: And now I should be able to move this. And to be honest, you can actually move it like this, too. But that doesn't help us. We don't want that.
Caleb White: But in the x should be the extraction or let's do which where we work in there. Yeah, the extraction, you should be able to drag it. Okay, now that you can drag it. I want you to hold down V and drag it until it snaps to the right side of the opening
Caleb White: Sorry are measuring tool. Does that make sense.
Linxuan (Roise): So after I see it become green color sorry orange color and I just have we and
Linxuan (Roise): Move it.
Caleb White: After, after you select it, press w. So, W is how you open the Move Tool and now you should be able to move it anywhere. Right.
Caleb White: But what I want you to do is when you're using the move tool, hold down V and then drag this right arrow until you hover over one of these vertices and it should snap to the edge of the measuring box.
Caleb White: Does that make sense.
Linxuan (Roise): I cannot move after I trashed the W and we
Linxuan (Roise): Can see the round orange.
Linxuan (Roise): And I cannot move it.
Caleb White: You can't drag it may. It may, it will only move when you're hovering over VERSUS THE ONCE YOU PRESS be. So actually, do you mind sharing your screen because I think it might be easier to help you that way.
Linxuan (Roise): Oh, sorry I'm not in the meeting room on my this computer.
Caleb White: Oh I see, I see. Okay, so what I what, let me just walk you through it one more time. So I think what's happening here. I'm actually going to delete this. And I'm just going to insert one more. I think I know what's going on.
Caleb White: So when I go to shift right click, I'm going to insert an edge episode here. Oops, sorry I made a mistake. Actually, I guess I don't need to delete that. Let me just move it off.
Caleb White: Okay, so let's say that you've selected this loop. I think what's happening to you if I press W for the Move Tool and I hold down v.
Caleb White: I think what's happening is that it's you feel like maybe it's not moving because it snaps very easily. So what you need to do is just make sure you're hovering over and edge. And if it's not working in that view.
Caleb White: Orbit to a different view where you can clearly see that vertex edge. So I'm going to double click this again. If I move it off a little bit.
Caleb White: And I press W. Now I'm holding down V and I'm going to drag this. I'm going to click on this edge, but now I'm going to hover with my mouse over this vertex and it should snap to that edge.
Linxuan (Roise): Okay, I'm trying to get her.
Caleb White: Okay. All right. Yeah, I think, to be honest, it's a little bit of practice to get these snapping to work well.
Linxuan (Roise): Okay, thank you.
Caleb White: Yeah, it just takes a little practice. And actually, when we do breakout rooms. I think it's easier for us to help you troubleshoot some of these small issues one on one.
Linxuan (Roise): OK. OK, I will try to so you
Caleb White: Sounds good. Okay, let's try to finish up this
Caleb White: And almost going on 1030 but let's try to go ahead and finish the cab and maybe the frame so that we can move on and the next session to more that detailed structure, but
Caleb White: Let me just so now that you have this guy's we need to move on to the next step. So what I'm going to do is I'm actually going to just delete or a little measuring box.
Caleb White: And it was only it was only it was a red hair and it was only for us to use to establish the size of the opening. OK. So now that we've done that, I'm going to double click or actually listen to that. So I'm going to select the whole object.
Caleb White: And I'm going to, I'm going to essentially what I'm trying to do now is make the interior surface of the owner tab.
Caleb White: So I'm trying to give it thickness, the whole object. I'm trying to give it some sickness. So the way we do that, just like we did with the chair is to just extruded to the interior. So what I'm going to do is I'm going to go to shift right click
Caleb White: And I'm going to go down to the extreme button. Okay, now we don't want to exclude the outside. So if you, if I were to drag this you can see what's happening here. It's actually inflating the object and under local translate Z.
Caleb White: It's that's that's one unit extruded outward. I'm going to put that to zero, this is what I want you
Brian De Luna: To do.
Brian De Luna: I don't hear you anymore.
Caleb White: You don't hear me.
Brian De Luna: Oh, there you are. You're back
Caleb White: Can everybody hear me okay maybe my audio is
Caleb White: diving in and out.
Weihang Huang (kevin): Yes.
Brian De Luna: Well you know what, it's I'm going through a big storm right now. Maybe it'll come to you. I think
Caleb White: Now, I know I'm actually getting a lot of thunder outside right
Brian De Luna: Oh, maybe my interest said that my internet connection or maybe their Internets just killing
Caleb White: It can be mine too.
Brian De Luna: She could see New York disappeared.
Caleb White: Yeah, yeah, it's pretty a pretty regular right now in New York. Okay.
Brian De Luna: Sorry, sorry to bother you.
Caleb White: Know, no problem. So all I'm going to do this. You know how we talked about with the extrusion tool with the chair. You can use these
Caleb White: The all the tools on the pivot to exclude or you can type in a value. I want you to type in a value.
Caleb White: This is another example of how you can be precise with Maya, so not using local translates to use the thickness. What I want you to type in
Caleb White: Is so if I were to go in and type in point seven five. It's going to extreme to the outside. But remember, I want to keep this elevator cab within the frame and external to the inside. So I'm actually going to go in and type
Caleb White: Negative point seven five.
Caleb White: And once I do that you, it's going to turn black. And the reason is because it's extorting the optic towards the interiors. The faces of flipped.
Caleb White: So just follow along. For now, so I'm going to, I'm going to go ahead and complete that tool and then press teach and the command that object mode.
Caleb White: And if I were to zoom in here just so you can see it, it's actually, it's a little strange. It's actually that the interior face of the of the object is just flipped. There's a way we can actually prevent this, let me undo this and show you a different way of doing it.
Caleb White: So I'm going to go back to before I extruded it
Caleb White: So now we have just our cube with our absolute and I'm actually going to delete this face where the opening was where the door was
Caleb White: So now when we extruded it shouldn't invert the face and you'll see why in just a second. So I have this object selected and just, just to explain just a reminder
Caleb White: When we're in object mode you can right click and go to face mode and I can select any of these mess mess faces and I can just delete the one that I don't need
Caleb White: OK, now I'm going to, and I'll repeat this guy, so just watch me for a second. So now I'm going to select the whole object. Go to shift right click extruded
Caleb White: And instead of extending to the outside and under thickness. I'm just going to type negative point seven five. Enter. And you'll see that it extends to the inside there.
Caleb White: Now the faces are still inverted. So we'll have to fix that. So I'll show you how to do that. So once you're done here though if I just click
Caleb White: If you go to Object Mode just right clicking on the audit mode. It'll complete the tool.
Caleb White: So yeah, the faces are black because they're they're flipped. So the way to invert faces when you have this problem.
Caleb White: If I just go to right click face. Remember, every tool that you need is pretty much shift right click, but you need to be in the right object category so
Caleb White: If, if I have object selected object modifying tools show up if I have a face selected.
Caleb White: Face modifying tool show up. So I'm going to select if you just double click one face, they'll select all the faces.
Caleb White: Or you can go out and zoom out and just drive in and select all the faces, but I'm just going to double click all the faces all down shift right click and then go to face normals. I'm going to reverse normals.
Caleb White: Okay, so now our object is right side out.
Caleb White: So let me let me quickly recap that for you guys and we'll try, we'll try to do that one more time. So, in case you weren't following. So let me go back a few steps here.
Caleb White: So what I've done is I've after we placed our edge loops, you should have something that looks like this. I'm just going to
Caleb White: Select Go Go right click on the object and go to face mode. Just right click on the object. Go to face mode. Select the face. That's where the door is I'm just going to delete it and then from there.
Caleb White: I'm going to go to Object mode, right click and go to Object Mode shift right click, go to extruded and just type in negative point seven five under the thickness input.
Caleb White: Okay. Now what I want you to do is go back to object mode. Well done, right click Go to Object mode now go into the face selection mode. So right click and go down the faces.
Caleb White: And now you should be able to click one face and double click it, they'll select all the faces in the object.
Caleb White: And if you just hold down shift right click, you can go to face normals. So face normals is
Caleb White: A way of describing which direction the faces are are the faces of the metro oriented. So again, if I have all my faces selected go to shift right click
Caleb White: Go to face normals and reverse normals. So if you're off. It does all black. That's how you can make it look right again if your object may not have turned out black, but usually if you exclude in the invert inverse direction. It'll. It'll flip the faces.
Caleb White: This does bring me to one other tool. I want to show you guys but I just want to make sure we're all roughly here.
Caleb White: Are we all here we have something kind of like this, shouldn't we should have basically the outline of our elevator cap which now we're getting to a slightly more fun.
Caleb White: part where we can begin.
Caleb White: Adding some details.
Caleb White: So hopefully we're all just about here. I do want to show you one other quick tool. You don't need to follow what I'm going to do.
Caleb White: But I want to show it to you because it's another way to do the process that we just did, and it's something that you'll probably use a lot. And then we're going to introduce a new tool.
Caleb White: So there's another way that you could have done added thickness of this object that would be probably less precise extrusion is good because it gives you a very precise offset.
Caleb White: But let's say that the old school way of doing this the way that I'm kind of used to do everything. You don't need to do this again. Just watch with me.
Caleb White: The way that I used to kind of just add thicknesses to object objects would be I have this this object. Maybe I'll go into x ray mode. So you can see this
Caleb White: And I would just duplicate it. So I would just go Control V and then I would just press are for scale. And I would just scale it down a little bit.
Caleb White: And you can actually probably scale about precise number. But this is why I'm saying the extrusion is better for what we're doing. But I'm trying to show you a different tool. So I would exclude it down.
Caleb White: And then what I would do is just kind of manually, I would then go in and select the vertices. Oh, wrong. I'm sorry.
Caleb White: Let me actually
Caleb White: Let me turn off x ray is actually more annoying than helpful. So I'm just going to zoom in here and select this, I'm sorry. But basically, that's just selecting the object that's inside there.
Caleb White: So what I would actually do you again. You don't need to follow you. Just watch. You don't need to follow along with me. I'd select the vertices, you know, I would
Caleb White: I would then probably just snap them to the height that I need them to be.
Caleb White: You know, and this is just my creating the interior surface of my model, but you might have an object. It's a bit complex where you need to create an interior that's different than the exterior and this is a good example of how to do that.
Caleb White: So if I press W again and I'm just wanting my my pivot so that I can snap to that, again, this line here is just our point 751 that's the floor of the cab. So I'm just snapping my vertices to that.
Caleb White: And then I also realized while I'm doing this that I actually don't need the other edge loops that are here. So I'm actually going to select
Caleb White: We've already used this tool, but I'm just going to select double click select those edge loops shift right click and delete those edges.
Caleb White: So this is the reason I'm showing this to you because it's going to show you just a slightly different way of making enter your volume. But again, you don't need to do this yourself. All right, now I'm going to
Caleb White: Select these other edges. These two. And I'm just going to align them to the exterior edge loops and then I'm going to show you a new way to make an opening there so
Caleb White: There was actually a couple ways to do this, but I want to show you one specific tool. So I'm going to go back to my normal shaded view.
Caleb White: Now what I'm going to do is I'm going to go to face mode. I'm going to select the door on this object and just delete it.
Caleb White: And then I'm going to do the same thing on the interior objects. And now that have aligned those edge loops to the exterior
Caleb White: I'm just going to go right click to face mode and just delete that door. Okay. Now you'll notice the interior of the object is black. And it's the same problem that we have only extruded so what I'm going to do is double click that.
Caleb White: To select all the faces, go to shift right click face normals and reversals. Okay.
Caleb White: So now this is the whole reason for doing this was just to show you this one tool. So there's actually an easier way to do this, but I would like you to know how to use this tool so
Caleb White: We have two separate meshes here. Now we get to explain to you.
Caleb White: What a mesh is compared to a poly object in rhino. So if, if I was in rhino. And I wanted to join these two objects and make them one object, I would have to make a
Caleb White: Surface connecting them. But there's something in my that you should know, which is that
Caleb White: You can join and this is not just in my this is it has to do with matches. You can join a mesh that has nothing to do with another mesh and they will be considered one mesh by the computer because as you remember from from the beginning of today's lesson.
Caleb White: A mesh is only a collection of numbers, Maya doesn't care anything about the shape of it or anything. All it knows is that there's a certain number of vertices. And all of these locations. Right.
Caleb White: So you can join those lists, you can combine those sets of information, no matter where it is. I can join this mesh with this mesh, even if they're not even close to each other. And the way to do that.
Caleb White: I can hold down Shift and right click and I can go down to combine and now this is one mesh. Okay. And once it's one mesh. I can treat it like it's one mesh meaning like when I go to face mode. I can select
Caleb White: Two faces, even though they're separate objects in our minds to the computer. This is the same object. It has that number of faces. It's just that some of the vertices are joined. So,
Caleb White: That's very different than nerves geometry nerves geometry does not do that nerve geometry is concerned with what is touching and what is one mathematical object that is built together.
Caleb White: So the reason I'm showing you this though is because let's say I want to combine these two meshes together.
Caleb White: So that I can make them into one solid. Well, there's a tool called a pen to polygon tool and that's it's a stupid name. I don't know why they named it that but the
Caleb White: Point is that that's a way for us to draw a mess face right here to fill in this gap and to connect these two measures. However, I cannot do that unless these two are joined
Caleb White: But I want, I can show you is like, let's just show you the dependent Polygon Tool first. So let's say I wanted to close the door of this object well
Caleb White: If I hold down. I have the object selected. And if I hold down Shift and right click, I did to the append to polygon tool.
Caleb White: And it's a little bit annoying. I actually remember when I first learned Maya. I didn't understand why the tool work this way.
Caleb White: But don't overthink it. All you need to know is that you can select to naked edges of a mesh to produce a mesh space between those two naked eye just so this, for instance, is a naked edge.
Caleb White: And this is an acreage. So what I can do is I can click on this edge, and for some reason it's going to show us the directionality of the message.
Caleb White: And then I can click on this left domestic mesh edge and that pink surface and showing us a preview. And now if I press Enter, it will produce the mesh face to fill that mesh. OK. So now let me go back one step. I want to do that process between this edge and this edge.
Caleb White: But before I can do that I need to join these are combine these two meshes. If this wasn't right now. We'd say, we call that joining
Caleb White: But we want to make these two objects one mesh. So what I'm going to do is I'm going to select one hold down Shift and select the next and then I'm going to hold down Shift and right click and then I'm going to go down to combine
Caleb White: And now I should also point out to you if these are not geometric line geometrically connected if these are not if you're familiar with rhino. These are not welded mesh as many they're not touching. I can actually go back and combine them to no problem.
Caleb White: So this is actually how I like to group things in my head. Quite a bit. By the way, but we'll talk about that a little bit more later, but if I go back to shift right click in my object mode.
Caleb White: And I go down here to separate. I can still separate these two meshes because I haven't built a face to connect them. Yeah, there's no vertices that are merged here.
Caleb White: So let me let me go back. Let me just combine these two shifts, right click
Caleb White: combine these two messages. Now I'm going to use the dependent polygon tool. The new tool we just learned to connect the faces on these two. So I'm going to hold down Shift and I'm gonna hold on, right click and I'm going to go a pen to polygon tool.
Caleb White: Click on this side. Click on this side and you'll see that it's telling us that it's done it successfully. So now if I just press G.
Caleb White: It will repeat the command. It will close this one and repeat it so I can do it again on this face. You can also exit the command and run the command again. But if you press G. It'll just repeat the command. Now I'm gonna do this face or G and I'm going to do this face.
Caleb White: Now I'm going to press t remember t is to close the command or you can just click select or Press Q to select
Caleb White: Now I have joined these two meshes together physically. So now if I were to go to shift right click and separate
Caleb White: It's going to tell me, hey, it has only one piece. We don't know what you're saying there's no there's not two separate pieces there. Okay, so I hope that makes sense. There's a
Caleb White: There's something important to understand here about meshes. You can combine any messages you want in the universe. It doesn't matter where they are in the model.
Caleb White: But they are not one piece until they're actually physically joined will also look at merging burden vertex is when we need that tool to merge the tool to meshes together. So again, if I were then to separate this
Caleb White: By deleting these faces I went through and deleted. Each of these faces.
Caleb White: Pressed delete now magically I would be able to
Caleb White: Separate these objects. So anyway, that there's there's two things that we taught you there. One is about combining meshes and was about a pending to polygon tool. So let's go back to where you work. So you all you've extruded this mesh.
Caleb White: So I have my object here. Actually, let me not do it. That was telling you that yet. I'm going to extreme my object, you should have all done this already. So thickness. I'm just fintech negative point seven five.
Caleb White: And then I'm going to go to Object mode or sorry, go to face mode. And I'm going to go shift right click and reverse normals for that that whole object. So this is what you had so
Caleb White: I hope you understand this is a more precise way of often object and getting a thickness, but I wanted to show you the pen to polygon tool.
Caleb White: But if you'd like to practice that quickly. What I would suggest is, let's just select this face here follow along with me.
Caleb White: Just select this face on the interior of your, your object and just delete that face. So, you now have a naked edge in your MASH
Caleb White: We haven't talked about this much, but if I heard this is kind of, you don't really need to know this, but if I was depressed three, you're going to notice there's a problem in the mesh as a whole.
Caleb White: We're not smooth and smash you don't need to worry about that. But that's a whole other conversation is what about removing a face and having a naked edge of a mesh.
Caleb White: Okay, so you should have this object with an A hole in the side. And now if I want to close that mesh and attach these two edges. All I do is type or press Shift and right click
Caleb White: And then I go to append to polygon tool on the right here, click on the left side naked edge and on the right side naked edge.
Caleb White: And I can guarantee you that about half of you right now missed one of the edges. So you did this.
Caleb White: And you're like, why is it doing this. And it's like, oh, they won't even let me actually I think the tool has gotten a lot better. Because it used to be that if you slightly missed that.
Caleb White: You would end up creating a surface or a mesh edge that would go off to infinity, and it would work. But now it's a little better. So I'm going to press it to close that
Caleb White: And you should have again a complete mash. Are there any questions about that we're going to use that tool that more as we go forward, but I wanted to introduce it now. Are there any other any questions or anybody get lost during that explanation.
Caleb White: Okay. If not, let's move to probably won't be one of the last things we get to do here. But what I'm going to do now. Guys, I'm gonna start adding some detail. This is actually the first detail elements.
Caleb White: That we're going to get to select and add today. So if you notice from our image, there's kind of this cool looking like silvery flange around the opening an elevator. That's actually the kind of part that goes into the the wall.
Caleb White: Into the elevator core that frames out the door. The opening for the door.
Caleb White: And if you notice in my complete model. It's actually a little bit buried. There's a lot of other stuff around it like the steel frame that holds it
Caleb White: Is actually even some some metal frame inside of that that holds the other components. But if you notice, yeah, okay, we go
Caleb White: If you notice, it's just one of the moments that fits into the frame for the elevator. But that's the first detailed piece we're going to add. And so what I want you to do.
Caleb White: So I'm going to come back to our
Caleb White: Come back to our time here. So,
Caleb White: I'm
Caleb White: Just explaining. So we were talking about combining and separating meshes and and how to produce a, you know, we're kind of treating these things as individual objects.
Caleb White: But we can produce other individual objects based off of this one. So maybe that's a little confusing to say, but let me explain it like this. So what I'm going to do to make that flange is I'm actually going to take
Caleb White: I'm gonna take these faces from our elevator cab and I'm actually going to duplicate those phases and I'm going to offset them to give them a thickness and
Caleb White: Then pull them out. So let me explain why we're doing that we're doing that so that we know whenever we build the frame that it fits in there, completely
Caleb White: We could just create new geometry, I could come in here and like we've been doing all day and make a new cube, just by snapping to this courtesy and
Caleb White: You know, I could I could then extruded and and we'll do some of that. But I want to show you another command that's very helpful.
Caleb White: When you're building tightly assembled meshes. And that is duplicate face. So what we're going to do.
Caleb White: When you have your object selected here. I want you to right click and go to face mode.
Caleb White: And I want you to just select the three phases. The right side of the opening the door opening the header or the top of the door opening
Caleb White: And the left side of the door opening and you don't need to select the bottom because the friend doesn't go across the bottom of the opening
Caleb White: Now once you have those three phases selected and you can watch me first, if you want. We'll do this again together.
Caleb White: Once you have those three phases selected. I want you to hold down Shift, hold down right click and just scroll down the menu here and there's a command called duplicate face. So once I click on that.
Caleb White: What it's going to do is extract those three phases and duplicate them and make a new object. So when I press W. I'm going to select the elevator tab, just so I can show you.
Caleb White: And then I'm going to press W. Where's my pivot, just use my center pivot hotkey I can pull this out. So what we've done is by using that tool. It's just duplicated the three phases, it's copied those from our object.
Caleb White: So let me do that again, all of you, I want you to follow along with me now. Okay, so what I'm going to do is I'm going to select the object that a face mode, right click on a face mode.
Caleb White: Select the left side, select the top side and select the right side of the door opening and once you have those selected hold down Shift and right click and go down to duplicate face.
Caleb White: Okay, now that we've done that so know what's going to be a little confusing for some of you, is that all of the
Caleb White: Both the original object and the new faces are selected right now. So if I press W to move
Caleb White: And then I center pivot. I'm going to modify center pivot. If I was to move this object it's moving both. So the way to prevent that from happening.
Caleb White: What I'm gonna do is I'm going to just go to Object mode. So while both are still selected just right click and go to Object mode. And if I press Control hold down control and click on the elevator tab.
Caleb White: It's going to do select the elevator cab. So now I can actually just pulled this out and it doesn't matter. Just pull it out wherever you want, we can always snap it back in place. Because we know where those points are
Caleb White: So, just pull out your duplicated faces. If you got lost during that I'm going to do this one more time because I know that's a little bit confusing, so
Caleb White: Under objects. I've got my objects left in here when I click Go to face mode want to select the right side face the top side face and the left face.
Caleb White: Hold down Shift, hold down right click and go to duplicate face.
Caleb White: And then when it gets there's like it's a little confusing when I press W to end the command I have both objects selected. So all I've got to do is go to Object Mode, hold down your right mouse button and go to Object mode.
Caleb White: Press Control and D. Select the cab. So now I've only got the frame selected. OK, now I'm going to press W.
Caleb White: For move. And remember, if, if you're not there. It's really simple user user hotkey or you go to modify
Caleb White: And click center pivot and I'm just going to move this out. Okay, so this is what you should have
Caleb White: Okay, I'm going to keep rolling here to learn
Weihang Huang (kevin): To any to just reverse those faces because you have black
Caleb White: No. No, leave it like it is. Because we're about to add some thickness to it. So don't worry about it. But, good question. Yeah, good question. We don't need to worry about that right now.
Caleb White: So,
Tao Xu: We'll have a question.
Caleb White: Yeah, go ahead.
Tao Xu: Yeah, Kelly just offsets the ads. So to create outlines the door, rather than using the Marion box.
Caleb White: Rather than using what, sorry.
Tao Xu: mattering box just like offsets the
Tao Xu: Face.
To you.
Caleb White: Yeah, that's actually a very good question. Another way to do you're talking a few steps back. But maybe just to address that quickly. I think the reason I'm
Caleb White: Telling you use the measuring box because you're not always going to have a face.
Caleb White: That has a set dimension on it. So sometimes you need to actually place an object that has the exact dimensions and know how to move it to where you need it. But yes, that is true.
Caleb White: Just for future reference. If you're working on a different object and you want to just offset the faith. You're right. You could actually extract. We haven't extracted face really much yet, but you could actually just extruded
Caleb White: The face and set an offset dimension 2.75 and then you would have an exact offset on all sides of point seven five. Yes, that that is completely valid.
Caleb White: I'm just trying to show you a different technique because I think you might need to, you may have a face as a lot of subdivision on it or has a different kind of test elation than you need.
Caleb White: And in this case, you know, we wanted to set the exactly the four foot with. But yeah, we definitely could have done that, rather than inserting that's loops. That's completely valid.
Caleb White: Okay.
Tao Xu: So yeah, anyway.
Caleb White: Like like brightness said before. There's a million ways to do things.
Caleb White: And Maya.
Caleb White: But we're kind of showing you. Maybe one way to think about it.
Caleb White: Okay, so let's now move to the frame. So now that I didn't look into my face and I pulled that out. What I'm actually going to do is I'm actually going to double the width because Michael
Caleb White: Just roughly are actually i think it's i did triple last time. So, what, what I'm going to do this might seem a little weird at first, but what I'm going to do is I'm actually just going to duplicate this twice. So I'm just going to go Control V
Caleb White: Press W. And then I'm going to snap my pivot by holding down DMV to the corner here and I'm going to hold down V and just move it to the edge here. So now I have kind of a double width.
Caleb White: Flange. Okay. Now, the reason that I'm doing that is because I want to have this object, you don't need to move it now, but I want to have this object sit at that point and I want to always at that point. So I'm leaving that absolute fair
Caleb White: So what I'm going to do now is I'm going to select both these objects you saw all we've done so far, guys. Just to recap, we pulled out their faces that we duplicate it
Caleb White: I'm going to duplicate this object move my pivot to the corner using the envy. Now, hold down V and drag this corner to the front here.
Caleb White: And now I'm going to take these two objects. So you should have these two objects selected, and I'm going to combine them. So shift right click
Caleb White: And I'm going to combine those two objects. Now I'm going to show you one more tool we've discussed the pen polygon tool to merge two objects. But there's another tool to merge two objects together.
Caleb White: If I go and right click to select vertices, even though this is one object.
Caleb White: The weird thing you're going to see, like I said before, you can join any object together the weird thing you're going to see that.
Caleb White: Is that these are not joined, even though they're one object, they're combined. They're not
Caleb White: The vertices are not joined. So for instance, if this was Rhino that well the verses are not welded. So what I'm going to do is
Caleb White: Yeah, just to show you one more more time. If I were to move this you can see that the pharmacies are not welded together right so what I'm going to do, I'm going to
Caleb White: Show you a new tool. I'm going to select these two the vertices that are overlapping each other here and I'm going to hold down Shift and I'm gonna hold on, right click and I'm going to go to
Caleb White: Merge vertices. There's multiple merge vertices tool. One is merge vertices, the center will show you with us for a little later. But this one, you can just use merge vertices
Caleb White: And there's a distance threshold here point. No one should be okay for what we're doing.
Caleb White: And now I'm going to do the same. You could actually do it to the whole thing at once, it would work. But I'm going to do it to the
Caleb White: I'm just going to press G and do it to this corner. I'm gonna present G and I'm going to do to this corner, and I'm gonna press she needs to impress.
Caleb White: To do it to this corner now if I try to move this object. You'll notice now when I double click on the space that they're all joined
Caleb White: So this is now one option. So if I notice they're actually joined. They're not separate. So just to recap, all I've done here and go back a few steps and I'm going to do it all at once here so I combine these objects together.
Caleb White: Okay, I'm going to combine these objects together. And once you have them combined, just go ahead and go to the Vertex mode and I'm actually just going to select all these vertices. At the same time, hold down Shift and right click, go to emerge vertices and merge vertices
Caleb White: And they shouldn't all be merged. So there should be one object that make sense.
Caleb White: Okay, now that I've done that. Let's, let's try to finish up this this flange. So I'm going to now that I have this kind of double wide friends that sits inside the elevator. I'm actually going to press
Caleb White: W and I'm going to hold them Wii and Wii. I'm gonna snap my vertex in this middle point here is middle edge.
Caleb White: And that's the edge that I'm going to snap to the edge of the elevator cab here. So now what holding down to me I should be able to just drag that flange into place.
Caleb White: Okay. And we automatically thickness yet. I think it's time to do that so
Caleb White: If you look at the object. There's a couple features that it has here. One is that has a very fun than this because it's a piece of steel. So it's a, you know,
Caleb White: I don't know, could it could be a quarter inch steel, you know, something like that. So what we're gonna do is we're going to add a thickness to it. But we're also not have this little blip on the edge.
Caleb White: To give it sort of a flyer that you would probably see in a piece of steel channel or something.
Caleb White: So, and you're going to be creating so many of these guys just to look at the final output of this thing really quick.
Caleb White: You're going to be creating so many different things, because in reality, everything is made of so many parts and the reality is most of them are radius steel parts or
Caleb White: Edges that have little flashes on them and things like that. This little you know brackets added to hold things in place so that you're going to be making tons of these. So this is your first one
Caleb White: Okay, so
Caleb White: First, what I want you to do is select the flange. The whole object.
Caleb White: And go to shift right click and go down to exclude
Caleb White: And what we're gonna do is we're just going to offset this by let's try a distance and see what looks good. Let's try point two five. That's another that's way too much. Let's try point 1.1 is gonna be too much, too. Yeah, not point one.
Caleb White: I think something more like point five might be better. Yeah, that'll work. That's fine. So this is a bit of a thicker flange.
Caleb White: So remember, and actually it's automatically inserted into the interior if yours is going the other direction, you can always put in negative point oh five.
Caleb White: But you want to extreme to the interior of the door. So it's not intersecting with the elevator down. So in my case, that means taking point 05 ok so now we've got
Caleb White: We've got this nice second frame. And then what we're going to do next is we're going to add a an edge loop to the interior. So I'm going to hold down shift right click and I'm going to go insert edge loop.
Caleb White: When I had an absolute right here with them is going to be a flash. I'm actually not measuring this guy's you could. I'm just going to kind of quickly add an edge loop here.
Caleb White: And then what I'm going to do next is pretty simple. There's a couple ways to do this weekend. It's true that eggs again.
Caleb White: Which I think that's fine. We'll do that, let me show you one other trick really quick. If you remember what I was telling you about edge loops. You can select the whole edge loop at one time.
Caleb White: You can do the same thing for faces, which is very helpful. If you have a clean mesh. I can click this absolute and I can double click if you just click one face sometimes
Caleb White: You click one face and I click the Next face, double click it, it will actually select the whole loop of faces. Okay, now there's an even better tool that's useful here. If I click this face and then I click double click this face.
Caleb White: It will only select the loop of faces between those two. So anyway, that's not necessarily so important here. But that'll come in handy later. Trust me. That's a, that's a good tool to know
Caleb White: Alright, so now I'm going to now that I have those three kind of exterior faces of the flange selected, I'm just going to hold down Shift and right click, go to extreme face.
Caleb White: And then as for the thickness probably point oh five. Okay, let's do that again. So for the thickness. Let's just type in point 05
Caleb White: And then now we have a nice little flange edge to our
Caleb White: Elevator kind of frame. Okay, so everybody should have one object which is their cab with an opening. We haven't added anything else either
Caleb White: To the opening except except the frame. So you'll have an object and nested inside here. It's a frame. And as we mentioned, it fits in there for goodness into that beef.
Caleb White: And then actually just so you know when we go back to do this, we can we, in reality, you don't want to maybe how these objects touching face to face. Exactly.
Caleb White: Because in real life, even if these are two perfectly machine. The objects, there's still going to be a little tiny air gap, you're gonna be able to see a little gap. So in reality.
Caleb White: What I would probably do is just actually scale, the whole object in slightly. So I'm actually going to hit on. See, you don't have to do this guys, this is kind of just me, pointing out a way to add another layer of detail here.
Caleb White: But I would actually probably scale it in by, like, just a minute amount so that there's a little bit of a shadow gap when you render it. But anyway, you don't need to do that. Now I'm just pointing that out for for future knowledge.
Caleb White: Okay, it's, it's almost 11 we've gotten our time and we've gotten our frame for the door. You're Brian, do you think we should should call it for today, or do you want to keep going for a little bit. What do you think
Caleb White: you're muted run
Brian De Luna: I think that it's good to start to wrap up because
Caleb White: Yeah, I think it's, it's good. A little tedious to
Brian De Luna: So I think that's a good place.
Caleb White: Yeah. So guys, we've actually come a long way. I know it looks like we haven't done much here, but we've actually covered a lot of tools. I think you're starting to see how you can move from a general proportion of an object down to the details.
Caleb White: Just to recap, so what what we've done is kind of produced the overall proportion of the object, we've broken it down into even proportions based on dimension kind of based on our image and also based on the drawings, we were able to find
Caleb White: We've established you know kind of what part. We're going to detail, we've pulled that out.
Caleb White: We've added thickness to it and learn some a couple new tools in the process. And then, now we've started the process of detailing that object. So
Caleb White: From here, maybe we will pick up is adding a few more details to the cab. I mean, there's actually a lot more details that go into the final model of the
Caleb White: Cab, but then we'll also start looking at the steel framework that holds up the the
Caleb White: gantry that goes inside or not the gantry the frame that goes inside of the elevator shaft will look at repeatable elements. So we've just created a frame and will actually add some details to it.
Caleb White: But then we'll look at
Caleb White: How to create repeatable elements and even how to group them how to
Caleb White: How to maybe keep them as
Caleb White: You know, we talked about the duplicate special tool for another use but will actually use it for a very practical use in the next session as well.
Caleb White: And then, yeah, I mean basically from there we're actually just going to keep adding details, but each one of these should introduce us to some new commands and some new techniques and then we'll just keep kind of adding detail to our object as we go.
Caleb White: So yeah, I'm going to go ahead and stop this recording
Caleb White: This tutorial so I'm gonna go and stop that and all