2009
Table Of Contents
- Contents
- Overview
- Maya Basics
- Polygonal Modeling
- Introduction
- Preparing for the lesson
- Lesson 1: Modeling a polygonal mesh
- Introduction
- Setting modeling preferences
- Using 2D reference images
- Creating a polygon primitive
- Modeling in shaded mode
- Model symmetry
- Selecting components by painting
- Selecting edge loops
- Editing components in the orthographic views
- Editing components in the perspective view
- Drawing a polygon
- Extruding polygon components
- Bridging between edges
- Adding polygons to a mesh
- Splitting polygon faces
- Terminating edge loops
- Deleting construction history
- Mirror copying a mesh
- Working with a smoothed mesh
- Creasing and hardening edges on a mesh
- Beyond the lesson
- NURBS Modeling
- Subdivision Surfaces
- Animation
- Introduction
- Preparing for the lessons
- Lesson 1: Keyframes and the Graph Editor
- Lesson 2: Set Driven Key
- Lesson 3: Path animation
- Lesson 4: Nonlinear animation with Trax
- Introduction
- Open the first scene for the lesson
- Creating clips with Trax
- Changing the position of clips with Trax
- Editing the animation of clips
- Reusing clips within Trax
- Soloing and muting tracks
- Scaling clips within Trax
- Open the second scene for the lesson
- Creating clips from motion capture data
- Extending the length of motion capture data
- Redirecting the motion within a clip
- Beyond the lesson
- Lesson 5: Inverse kinematics
- Introduction
- Open the scene for the lesson
- Understanding hierarchies
- Viewing hierarchies using the Hypergraph
- Creating a skeleton hierarchy
- Parenting a model into a skeleton hierarchy
- Applying IK to a skeleton hierarchy
- Creating a control object for an IK system
- Constraining an IK system
- Limiting the range of motion of an IK system
- Simplifying the display of a hierarchy
- Applying parent constraints on an IK system
- Planning an animation for an IK system
- Animating an IK system
- Beyond the lesson
- Character Setup
- Polygon Texturing
- Rendering
- Introduction
- Preparing for the lessons
- Lesson 1: Rendering a scene
- Introduction
- Open the scene for the lesson
- Creating shading materials for objects
- Refining shading materials for objects
- Maya renderers
- Rendering a single frame using IPR
- Rendering using the Maya software renderer
- Batch rendering a sequence of animation frames
- Viewing a sequence of rendered frames
- Beyond the lesson
- Lesson 2: Shading surfaces
- Lesson 3: Lights, shadows, and cameras
- Lesson 4: Global Illumination
- Lesson 5: Caustics
- Dynamics
- Painting
- Introduction
- Preparing for the lessons
- Lesson 1: Painting in 2D using Paint Effects
- Lesson 2: Painting in 3D using Paint Effects
- Introduction
- Preparing for the lessons
- Brushes and strokes
- Rendering Paint Effects strokes
- Paint Effects on 3D objects
- Creating a surface to paint on
- Painting on objects
- Using turbulence with brush stroke tubes
- Using additional preset brushes
- Mesh brushes
- Converting mesh strokes to polygons
- Modifying a converted polygonal mesh
- Beyond the lesson
- Lesson 3: Painting textures on surfaces
- Expressions
- Scripting in Maya
- Index
When you select this edge in the scene view, notice that two
corresponding shell edges also get selected in the UV Texture Editor. This
indicates the following:
■ The selected edge is shared by two faces; the front and the top.
■ Selecting the top front edge in the scene view, identifies the
corresponding front and top UV shells for the box. (Indicated by the
selection in the UV Texture Editor.)
This is useful when you need to understand how the various UV shells
relate to each other, especially when you have many UV shells for a model
in the scene; for example, when you sew two UV shell edges together.
In the steps that follow you select edges in the UV Texture Editor so you can
sew them together.
Sewing UVs
Sewing UV shells together merges the UV shells along a shared edge that you
specify. Sewing UVs is useful for the following reasons:
■ You can move and modify the UV shells as larger contiguous texture units.
This makes it more efficient to match the UVs to the texture in many
situations.
■ Texture maps can appear more uniform across texture borders when the
texture is applied to one or more sewn UV shells compared to many
separate UV shells. Sewing shells together reduces the chance that an
unwanted texture mismatch occurs along the texture edge.
To sew shell edges together in the UV Texture Editor
1 In the scene view, ensure that only the top front edge of the cracker box
is still selected.
When the top front edge is selected in the scene view, the top edge of
one of the large UV shells is also selected as well as the left side of the
middle UV shell in the top row of the UV Texture Editor. For the cracker
box texture map, you need to sew these together so they correlate to the
map correctly.
Working with UVs in the UV Texture Editor | 367