The Glamorous World of Maya Modeling: Work Smarter, Not Harder
- ALIGNED IMAGE PLANES
- ALPHA ONION SKINS
- MAYA CARD TRICKS
- MAPPING VERSUS MODELING
- INSERT HERE WHILE DRAWING CURVES
- EXPLICIT, R-RATED NURB TESSELLATION
- TESSELLATION VERSUS CVs
- LINEAR VERSUS CUBIC HEROICS
- CONSTRAIN THOSE UNRULY CURVES
- THE REVOLUTIONS WILL NOT BE TELEVISED
- BI-RAILING THE MISSING GLASS SLIPPER
- SLIPPER REBUILDING
- SHADY, UNDESIRABLE ELEMENTS IN MAYA
- RANDOMIZE THOSE CVs
- JUNKYARD DUMPING SIMULATION
- USE OF PHOTOSHOP AS A MODELING TOOL
- AUTOTRACING FOR FUN AND PROFIT
- PHOTOSHOP PATHS TO MAYA CURVES
- WRESTLING WITH DISPLACEMENT
- ANIMATE YOUR MODELING
- SET SUBTLETIES
- TRANSFORM TOOLS SHORTCUT
- INTERROGATING POINTS AS TO WHERE THEY LIVE
- FACE PROPOGATION VIA SHELL IN POLY SELECTION CONSTRAINTS
ALIGNED IMAGE PLANES
Because we frequently use three-view source imagery as a starting point for tracing or guiding our work, a useful technique is to use multiple image planes, each reflecting side, top, or front views, respectively. The trick is to align them properly so that we end up with Michelangelo's David instead of your sedentary Uncle Harry. Use View, Image Plane, Image Plane Attributes, Center values to shift the placement of each image plane so that they align with each other. Make sure your original Photoshop images have the same relative scale, or you might end up with your Aunt Edna instead.